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Bullfighting was the spectacle of the masses par excellence in Spain, when the football was in diapers in the first few years of the TWENTIETH century and since then Jose Gomez Ortega “Gallito” imposed in their contracts a clause of rights of image of five thousand pesetas for the bullfights in which toreaba.

The cinema had twenty years of life, when Joselito El Gallo, as he perceived its significance and its social impact and its enormous importance to the time spread its operations in the plazas, next to John Belmonte commanded as the axis of the Golden Age of bullfighting until he died on 16 may 1920 in Talavera de la Reina (Toledo).

it Was called “Clause 14” , discovered by the journalist Benjamin Ventura Rivets in a contract of Joselito to the fair of Almeria, 1915, which stipulated that the employer of the coso “is bound not to allow that in the square you enter a device to impress movies with the destination to film screenings”.

“But if contrary to that set out here prove that, for distractions of employees of the company, or any other cause is breach of this obligation”, the employer “shall pay to the sword José Gómez ‘Gallito’ the sum of five thousand pesetas for every time that you incur in the lack of that here is provision of” read the contract.

The amount is exorbitant for the time, and is lower in very little that both Joselito as Belmonte charged by cumshot in an era in which Joseph offered him to participate in a film entitled “Amour, soleil and taureax” for 3,000 pesetas per session when, denounced in 1915, a journalist who signed “Ariel” in The Forefront, the actor Ricardo Calvo earned only 30.

Everything has journalist Paco Aguado on “Joselito el Gallo, the king of the bullfighters” , written in 1999 and recently republished by The Promenade, next to a myriad of factors, in addition to the fundamental the bull in the field and in the square, dominated by the colossus of Gelves from is made master of the Feast, and, with very few years, not leaving to chance anything that was happening around her.

Next to the construction of monumental public squares to make them accessible to a greater number of fans and reduce the price of ticket , the smaller of the Cock did not leave a loose end in nothing, and, in addition to the bull, was above all, not in vain Belmonte claimed to always adamant about any aspect of organizational or money “what you say Joseph.”

In this sense of controlling all aspects of the spectacle of bullfighting, Joselito saw very early that the invention of the brothers Auguste and Louis Lumière , which had its debut in Paris in 1895, he was going to have an influence not less on the perception of the bullfights.

Keeps the journalist from madrid that the requirement of Joselito could be the cause of that “there are so few images of their performances as Belmonte” and that “a lot or a little, depending how you look”, it is “a very small file compared with the large amount of cum that toreó and which comes to confirm its prevention to others to do business at the expense of their fame and image”.

The unique scenes of film that are known bullfighter of Gelves are their alternative in Seville, afternoon of the farewell of the light Bulb, the compost of the Pillar of Zaragoza, 1913, the of a bullfight of the Fair of April of 1914, his performance in Madrid with seven bulls of Martinez, the six-Contreras in Valencia, the Magdalena of Castellón, 1915, two cumshots in Barcelona in 1918 and a tentadero in the breeding of little war in its second year of alternative.