Here's the description from the introduction to the volume:
Associate Professor Rosana Murias examines the figure of the bride in Franco's Spain during and after the conclusion of the Spanish Civil War in 1939. Her chapter shows that [...] in Franco's Spain, women were confined within the domestic sphere of the family in especially rigid ways (they lost the previously attained right to vote, for example [...]) and that the authority of men with regard to brides was underwritten by the Catholic dictatorship's decree and practice. Becoming a bride, whether of a man or of Christ, was the approved destiny for a woman. At the same time, in the 1940s, a romantic literature aimed at and often written by women, called novelas rosa, flourished. In contrast to the generalized poverty of the period and the reality of most women's lives, the novels' settings were always rich, the bride submissive, beautiful, and/or exceptionally virtuous (usually all three), and the groom older, wiser, handsome, and redeemed by the girl in marriage. Her role is simply to achieve marriage; he will take care of all else for the future. This trope was taken by the authors of the novelas rosa and reworked often in ambivalent ways. For example, Murias shows how one author, Carlota O'Neill, as "Laura De Noves," wrote gently subversive novelas that foregrounded women's innate dignity. In her examination of three films from the 1950s and early 1960s, however, Murias shows how a new disruptive discussion about the bride and marriage was enacted, more in touch with the harsh realities of Franco's Spain for those who would marry. (xvii-xviii)
Here's the description from the introduction to the volume: