[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.68,0:00:09.65,Default,,0000,0000,0000,,On April 26th, 1937,
Dialogue: 0,0:00:09.65,0:00:15.74,Default,,0000,0000,0000,,Fascist forces bombed the Basque village \Nof Guernica in Northern Spain.
Dialogue: 0,0:00:15.74,0:00:19.33,Default,,0000,0000,0000,,It was one of the worst civilian \Ncasualties of the Spanish Civil War,
Dialogue: 0,0:00:19.33,0:00:24.60,Default,,0000,0000,0000,,waged between the democratic republic and \NGeneral Franco’s fascist contingent.
Dialogue: 0,0:00:24.60,0:00:28.78,Default,,0000,0000,0000,,For Pablo Picasso, the \Ntragedy sparked a frenzied period of work
Dialogue: 0,0:00:28.78,0:00:31.82,Default,,0000,0000,0000,,in which he produced a \Nmassive anti-war mural,
Dialogue: 0,0:00:31.82,0:00:34.41,Default,,0000,0000,0000,,aptly titled "Guernica."
Dialogue: 0,0:00:34.41,0:00:38.31,Default,,0000,0000,0000,,The painting is a powerful work of \Nhistorical documentation
Dialogue: 0,0:00:38.31,0:00:40.95,Default,,0000,0000,0000,,and political protest.
Dialogue: 0,0:00:40.95,0:00:43.97,Default,,0000,0000,0000,,But while Picasso’s artistic \Nmotivations are clear,
Dialogue: 0,0:00:43.97,0:00:49.19,Default,,0000,0000,0000,,the symbolism of the painting can be as \Nconfusing and chaotic as war itself.
Dialogue: 0,0:00:49.19,0:00:52.23,Default,,0000,0000,0000,,How can we make sense of this \Noverwhelming image,
Dialogue: 0,0:00:52.23,0:00:57.18,Default,,0000,0000,0000,,and what exactly makes it a \Nmasterpiece of anti-war art?
Dialogue: 0,0:00:57.18,0:01:01.68,Default,,0000,0000,0000,,The painting’s monumental canvas is \Ndisorienting from the start,
Dialogue: 0,0:01:01.68,0:01:06.62,Default,,0000,0000,0000,,rendered in the abstracted Cubist style \NPicasso pioneered.
Dialogue: 0,0:01:06.62,0:01:10.85,Default,,0000,0000,0000,,Cubism deliberately emphasized the \Ntwo-dimensionality of the canvas
Dialogue: 0,0:01:10.85,0:01:13.47,Default,,0000,0000,0000,,by flattening the objects being painted.
Dialogue: 0,0:01:13.47,0:01:15.48,Default,,0000,0000,0000,,This afforded viewers multiple
Dialogue: 0,0:01:15.48,0:01:19.31,Default,,0000,0000,0000,,and often impossible perspectives \Non the same object;
Dialogue: 0,0:01:19.31,0:01:23.58,Default,,0000,0000,0000,,a technique considered shocking \Neven in Picasso’s domestic scenes.
Dialogue: 0,0:01:23.58,0:01:25.13,Default,,0000,0000,0000,,But in this context,
Dialogue: 0,0:01:25.13,0:01:28.27,Default,,0000,0000,0000,,the style offers a profoundly \Noverwhelming view
Dialogue: 0,0:01:28.27,0:01:32.20,Default,,0000,0000,0000,,of violence, destruction, and casualties.
Dialogue: 0,0:01:32.20,0:01:35.68,Default,,0000,0000,0000,,Multiple perspectives only compound\Nthe horror on display–
Dialogue: 0,0:01:35.68,0:01:40.79,Default,,0000,0000,0000,,sending the eyes hurtling around the \Nframe in a futile hunt for peace.
Dialogue: 0,0:01:40.79,0:01:45.91,Default,,0000,0000,0000,,On the far left, a woman holding her \Ndead child releases a scream;
Dialogue: 0,0:01:45.91,0:01:49.64,Default,,0000,0000,0000,,her eyes sliding down her face \Nin the shape of tears
Dialogue: 0,0:01:49.64,0:01:54.57,Default,,0000,0000,0000,,and her head bending back unnaturally \Nto echo her baby’s.
Dialogue: 0,0:01:54.57,0:01:57.67,Default,,0000,0000,0000,,There is the statue of a soldier \Npresent below,
Dialogue: 0,0:01:57.67,0:02:00.46,Default,,0000,0000,0000,,but he is unable to defend \Nthe woman and child.
Dialogue: 0,0:02:00.46,0:02:03.95,Default,,0000,0000,0000,,Instead his broken body lies in pieces,
Dialogue: 0,0:02:03.95,0:02:09.09,Default,,0000,0000,0000,,his arm clutching a splintered sword \Nin a signal of utmost defeat.
Dialogue: 0,0:02:09.09,0:02:14.42,Default,,0000,0000,0000,,The tip of his sword meets a woman’s foot \Nas she attempts to flee the devastation.
Dialogue: 0,0:02:14.42,0:02:17.34,Default,,0000,0000,0000,,But her other leg appears \Nrooted to the spot,
Dialogue: 0,0:02:17.34,0:02:22.53,Default,,0000,0000,0000,,locked in the corner of the canvas \Neven as she stretches to move it.
Dialogue: 0,0:02:22.53,0:02:26.04,Default,,0000,0000,0000,,Another victim appears \Nbehind this slouching figure.
Dialogue: 0,0:02:26.04,0:02:29.71,Default,,0000,0000,0000,,Falling helplessly as flames \Nlick around her,
Dialogue: 0,0:02:29.71,0:02:34.18,Default,,0000,0000,0000,,she too is caught in her \Nown hopeless scene.
Dialogue: 0,0:02:34.18,0:02:38.38,Default,,0000,0000,0000,,Each of these figures bordering the \Npainting are horribly trapped,
Dialogue: 0,0:02:38.38,0:02:41.85,Default,,0000,0000,0000,,giving the work an acute \Nsense of claustrophobia.
Dialogue: 0,0:02:41.85,0:02:46.61,Default,,0000,0000,0000,,And where you might expect the canvas’ \Nmassive size to counteract this feeling,
Dialogue: 0,0:02:46.61,0:02:52.71,Default,,0000,0000,0000,,its scale only highlights the nearly \Nlife-sized atrocities on display.
Dialogue: 0,0:02:52.71,0:02:55.13,Default,,0000,0000,0000,,Some possible relief comes from a lamp
Dialogue: 0,0:02:55.13,0:02:58.82,Default,,0000,0000,0000,,held tightly by a ghostly woman \Nreaching out her window.
Dialogue: 0,0:02:58.82,0:03:02.81,Default,,0000,0000,0000,,But is her lantern’s hopeful glow \Ntruly lighting the scene?
Dialogue: 0,0:03:02.81,0:03:04.70,Default,,0000,0000,0000,,Or is it the jagged lightbulb–
Dialogue: 0,0:03:04.70,0:03:07.86,Default,,0000,0000,0000,,thought to represent the technologies \Nof modern warfare–
Dialogue: 0,0:03:07.86,0:03:11.02,Default,,0000,0000,0000,,which illuminates her view of \Nthe chaos below?
Dialogue: 0,0:03:11.02,0:03:13.81,Default,,0000,0000,0000,,From the coffin-like confines\Nof her window,
Dialogue: 0,0:03:13.81,0:03:17.32,Default,,0000,0000,0000,,her arm guides the viewer back \Ninto the fray,
Dialogue: 0,0:03:17.32,0:03:20.34,Default,,0000,0000,0000,,to perhaps the most controversial\Nsymbols of all–
Dialogue: 0,0:03:20.34,0:03:24.29,Default,,0000,0000,0000,,two ghostly animals caught \Nin the destruction.
Dialogue: 0,0:03:24.29,0:03:29.11,Default,,0000,0000,0000,,Does the screaming horse embody the\Nthreat of Franco’s military nationalism;
Dialogue: 0,0:03:29.11,0:03:33.64,Default,,0000,0000,0000,,or does the spike running through \Nits body convey its victimhood?
Dialogue: 0,0:03:33.64,0:03:36.77,Default,,0000,0000,0000,,Does the white bull represent Spain,
Dialogue: 0,0:03:36.77,0:03:40.97,Default,,0000,0000,0000,,the country of matadors and a common \Ntheme in Picasso’s work–
Dialogue: 0,0:03:40.97,0:03:45.36,Default,,0000,0000,0000,,or does it stand for the \Nbrutality of war?
Dialogue: 0,0:03:45.36,0:03:49.95,Default,,0000,0000,0000,,In this scene of strife, these animals \Nraise more questions than answers.
Dialogue: 0,0:03:49.95,0:03:52.77,Default,,0000,0000,0000,,And additional elements hidden \Nthroughout the frame
Dialogue: 0,0:03:52.77,0:03:56.52,Default,,0000,0000,0000,,offer even more secrets for \Nclose observers.
Dialogue: 0,0:03:56.52,0:04:01.70,Default,,0000,0000,0000,,At the top of the canvas flashes a bird \Ndesperate to escape the carnage.
Dialogue: 0,0:04:01.70,0:04:05.96,Default,,0000,0000,0000,,And the abundance of animals on display \Nmay hint at the bombing’s date–
Dialogue: 0,0:04:05.96,0:04:08.36,Default,,0000,0000,0000,,a market day which flooded the streets
Dialogue: 0,0:04:08.36,0:04:13.42,Default,,0000,0000,0000,,with villagers, animals, and \Nother potential causalities.
Dialogue: 0,0:04:13.42,0:04:15.57,Default,,0000,0000,0000,,Like the bombing of Guernica itself,
Dialogue: 0,0:04:15.57,0:04:18.56,Default,,0000,0000,0000,,Picasso’s painting is dense \Nwith destruction.
Dialogue: 0,0:04:18.56,0:04:23.78,Default,,0000,0000,0000,,But hidden beneath this supposed chaos,\Nare carefully crafted scenes and symbols,
Dialogue: 0,0:04:23.78,0:04:28.27,Default,,0000,0000,0000,,carrying out the painting’s multifaceted \Nattack on fascism.
Dialogue: 0,0:04:28.27,0:04:30.24,Default,,0000,0000,0000,,Decades after its creation,
Dialogue: 0,0:04:30.24,0:04:35.13,Default,,0000,0000,0000,,"Guernica" retains its power to shock \Nviewers and ignite debate,
Dialogue: 0,0:04:35.13,0:04:39.20,Default,,0000,0000,0000,,and is often referenced at anti-war \Ngatherings around the world.
Dialogue: 0,0:04:39.20,0:04:44.54,Default,,0000,0000,0000,,Hundreds of viewers have grappled with \Nits harsh imagery, shattering symbolism
Dialogue: 0,0:04:44.54,0:04:47.34,Default,,0000,0000,0000,,and complex political messaging.
Dialogue: 0,0:04:47.34,0:04:51.16,Default,,0000,0000,0000,,But even without a close understanding \Nof it’s complicated subtext,
Dialogue: 0,0:04:51.16,0:04:58.15,Default,,0000,0000,0000,,Picasso’s work remains a searing reminder \Nof the true casualties of violence.