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This dissertation examines the significant role of animated productions created between Spain and Japan in developing transnational anime, a key element in contemporary Spanish popular culture. These Spanish-Japanese anime provide a social narrative that helps understand changes in popular culture during Spain’s transition to democracy (1975–1982). This project contributes to discussions in Iberian cultural studies, cultural capitalism, material culture of the democratic transition, and the history of television in Spain. It fills a gap in the recent history of Spanish children’s and youth culture, highlighting the innovative aspects of these hybrid productions that resonated with young audiences.
The first chapter traces the origins of this phenomenon to José María Sánchez-Silva (1911–2002), a notable figure known for his work Marcelino, pan y vino (1953). Sánchez-Silva’s privileged position during a time of repression allowed him to achieve canonical status in children’s literature, but his work holds artistic and anthropological significance. His novella Adiós, Josefina (1962) depicts a transforming Spain, transitioning from post-Civil War scarcity to embracing a globalized consumer society. This book played a crucial role in initiating the collaboration between Spain and Japan through anime, leading to the creation of the first Spanish-Japanese animated production, Kujira no Hosefīna (1979).
Chapter two examines Kujira no Hosefīna as a representation of changing perceptions of children’s culture in the 1970s. This pioneering project in animation and transnational culture blends Spanish and Japanese elements, resulting in a hybrid product that reflects both cultures. Through archival work, I prove that despite its innovation and alignment with youth interests, Kujira no Hosefīna never aired in Spain due to a combination of misfortune and political changes in public television.
Chapter three focuses on the collaborations between the Spanish production company BRB Internacional and the Japanese studio Nippon Animation. These companies created series scripted in Spain but fully animated and produced in Japan. This collaboration yielded four series, but I emphasize Ruy, el pequeño Cid (1980). This anime imagines the childhood of Spain’s national hero Rodrigo Díaz de Vivar, contrasting with Kujira no Hosefīna in its depiction of childhood and social models, as well as its reception.