10 research outputs found
Streaming Minority Languages: The Case of Basque Language Cinema on Netflix
This article explores the way Basque language cinema is adapting to streaming platforms, focusing on the case of the three Basque language films that have made it to Netflix: Loreak (2014), Handia (2017) and Errementari (2018). Firstly, it explains Netflix particularities and its emphasis on diversity, among other reasons that could explain the platform’s interest in these particular films. Secondly, it describes the way these aforementioned films have landed on Netflix and the impact this exhibition has had. I base my research on in-depth interviews with directors Jon Garaño and Paul Urkijo as well as producer Xabi Berzosa to know the insights of the process. More broadly, the article discusses the impact that becoming available on Netflix and other SVOD platforms might have for Basque cinema, especially when it comes to production and transnational distribution. On the other hand, I will also point at the challenges that this new landscape poses for the Basque audiovisual industry, and non-hegemonic languages in general. The streaming revolution, of which Netflix is currently the epitome, is changing the production, distribution, exhibition and consumption model globally, and policy makers and Basque institutions should take this transformation seriously. Loreak, Handia and Errementari should not just become happy exceptions.El presente artĂculo se centra en cĂłmo el nuevo cine en euskera se está adaptando a las plataformas de streaming, tomando el caso de las tres pelĂculas presentes en Netflix hoy en dĂa: Loreak (2014), Handia (2017) y Errementari (2018). Primero se analiza Netflix y su estrategia de branding en torno a la diversidad, y cĂłmo esta puede tambiĂ©n entenderse como diversidad cultural y lingĂĽĂstica. DespuĂ©s se analiza el proceso por el que estos tres films en euskera han llegado a la plataforma de streaming. Mediante entrevistas a los actores implicados (los directores Jon Garaño y Paul Urkijo, y el productor Xabi Berzosa) y el seguimiento de las pelĂculas, se concluye que, aun siendo notables las oportunidades ofrecidas por Netflix a este cine (en cuanto a financiaciĂłn y distribuciĂłn), los desafĂos son inmensos en un panorama cambiante y volátil. La revoluciĂłn del streaming deberĂa tomarse en serio por las corporaciones pĂşblicas responsables de producir contenidos y otras alternativas al gigante Netflix (hoy epĂtome de la OTT) deberĂan ser tenidas en cuenta para que este caso de tres films no se convierta en mera anĂ©cdota
Lolita airada: girl power y venganza en Hard Candy (David Slade, 2005)
Artikulu honetan betidanik zinearen historian presente egon den Lolitaren mitoa XXI mendeko zinera nola egokitu den aztertzen da. Horretarako, Hard Candy pelikula independente amerikarra hartzen da eredutzat. Ohiko baliabideez gain, pelikulak posfeminismotik, zinema postmodernotik eta girl power mugimendutik datozen elementuak erabiliko ditu Lolita berri bat irudikatzeko, sexua, biolentzia eta pedofilia bezalako gaiak jorratzerako orduan kontradikzioz beteriko gure sentsibilidade garaikidea agerian utziz.; The present article tries to understand the Lolita myth and its adjustment to the cinema of the 21st century. The independent American film Hard Candy (David Slade, 2005) has been chosen to do so. While the film uses frequent resources traditionally attached to the Lolita myth it also incorporates brand new elements, inspired by postfeminism, postmodern cinema and popular media movements such as the girl power. Despite these innovations Hard Candy still depicts a myth in the core of contemporary contradictions and anxieties about sex, violence and paedophilia.; El presente artĂculo intenta dilucidar la manera en que el mito de Lolita, siempre presente en el cine de Hollywood, penetra en el cine del siglo XXI. Para ello, toma como ejemplo la pelĂcula independiente estadounidense Hard Candy (David Slade, 2005). Utilizando tanto elementos recurrentes como novedosos procedentes del posfeminismo, el cine posmoderno y ciertos movimientos mediáticos tales como el girl power, Hard Candy sigue representando un mito de Lolita en el centro de las contradicciones y ansiedades contemporáneas en torno al sexo, la violencia y la pedofilia
A Nova Hollywood e a pĂłs-modernidade: entre a subversĂŁo e o neoconservadorismo
The phenomenon of postmodern cinema-its context and characteristics-and its influence in new Hollywood is examined in this article. Through numerous examples, it reflects on the critical and subversive potential of postmodern cinema and concludes that, however much it provides tools for political criticism - particularly parody - Hollywood films typically are aligned with neo-conservative ideas or are uncritical.El artĂculo examina el fenĂłmeno del cine posmoderno -su contexto y caracterĂsticas– y su influencia en el nuevo Hollywood. Ofreciendo numerosos ejemplos se propone una reflexiĂłn sobre el potencial crĂtico y subversivo de Ă©ste, para concluir que, por mucho que el cine posmoderno ofrezca herramientas para la crĂtica polĂtica - particularmente la parodia - los films hollywoodiense se alinean tĂpicamente con ideas neoconservadoras o resultan acrĂticos. DOI: 10.5294/pacla.2014.17.3.4Este artigo examina o fenďż˝meno do cinema pĂłs-moderno —seu contexto e caracterĂsticas— e sua influĂŞncia na nova Hollywood. Oferecendo numerosos exemplos, propõe-se uma reflexĂŁo sobre o potencial crĂtico e subversivo deste para concluir que, por mais que o cinema pĂłs-moderno ofereça ferramentas para a crĂtica polĂtica —particularmente a parĂłdia—, os filmes hollywoodianos se alinham tipicamente com as ideias neoconservadoras ou acabam sendo acrĂticos
Streaming Minority Languages: The Case of Basque Language Cinema on Netflix
This article explores the way Basque language cinema is adapting to streaming platforms, focusing on the case of the three Basque language films that have made it to Netflix: Loreak (2014), Handia (2017) and Errementari (2018). Firstly, it explains Netflix particularities and its emphasis on diversity, among other reasons that could explain the platform’s interest in these particular films. Secondly, it describes the way these aforementioned films have landed on Netflix and the impact this exhibition has had. I base my research on in-depth interviews with directors Jon Garaño and Paul Urkijo as well as producer Xabi Berzosa to know the insights of the process. More broadly, the article discusses the impact that becoming available on Netflix and other SVOD platforms might have for Basque cinema, especially when it comes to production and transnational distribution. On the other hand, I will also point at the challenges that this new landscape poses for the Basque audiovisual industry, and non-hegemonic languages in general. The streaming revolution, of which Netflix is currently the epitome, is changing the production, distribution, exhibition and consumption model globally, and policy makers and Basque institutions should take this transformation seriously. Loreak, Handia and Errementari should not just become happy exceptions.El presente artĂculo se centra en cĂłmo el nuevo cine en euskera se está adaptando a las plataformas de streaming, tomando el caso de las tres pelĂculas presentes en Netflix hoy en dĂa: Loreak (2014), Handia (2017) y Errementari (2018). Primero se analiza Netflix y su estrategia de branding en torno a la diversidad, y cĂłmo esta puede tambiĂ©n entenderse como diversidad cultural y lingĂĽĂstica. DespuĂ©s se analiza el proceso por el que estos tres films en euskera han llegado a la plataforma de streaming. Mediante entrevistas a los actores implicados (los directores Jon Garaño y Paul Urkijo, y el productor Xabi Berzosa) y el seguimiento de las pelĂculas, se concluye que, aun siendo notables las oportunidades ofrecidas por Netflix a este cine (en cuanto a financiaciĂłn y distribuciĂłn), los desafĂos son inmensos en un panorama cambiante y volátil. La revoluciĂłn del streaming deberĂa tomarse en serio por las corporaciones pĂşblicas responsables de producir contenidos y otras alternativas al gigante Netflix (hoy epĂtome de la OTT) deberĂan ser tenidas en cuenta para que este caso de tres films no se convierta en mera anĂ©cdota
El Nuevo Hollywood y la posmodernidad: entre la subversiĂłn y el neoconservadurismo
El artĂculo examina el fenĂłmeno del cine posmoderno -su contexto y caracterĂsticas– y su influencia en el nuevo Hollywood. Ofreciendo numerosos ejemplos se propone una reflexiĂłn sobre el potencial crĂtico y subversivo de Ă©ste, para concluir que, por mucho que el cine posmoderno ofrezca herramientas para la crĂtica polĂtica - particularmente la parodia - los films hollywoodiense se alinean tĂpicamente con ideas neoconservadoras o resultan acrĂticos.
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DOI: 10.5294/pacla.2014.17.3.
Una tĂpica chica de los años cuarenta: parodia posmoderna y “lolitismo” en El hombre que nunca estuvo allĂ (2001)
This article analyzes the Coen brothers’s The Man Who Wasn't There, paradigmatic example of a postmodern neo-noir film. Specifically, the focus is on Birdy, a seductress teenage girl who exemplifies the Lolita myth, played by Scarlett Johansson. A comparison with the original Nabokov novel shows that the Coen brothers are in fact parodying the myth by way of the typical resources of postmodern cinema: intertextuality, pastiche and, as proposed by Linda Hutcheon, historiographic metafiction. The article closes with an examination of Jim Jarmusch’s Broken Flowers, which also parodies the Lolita myth. Both parodies are useful in conveying ironic distancing, but they also preserve the Lolita myth, which despite its literary origin, is showcased best in contemporary audiovisual culture.El presente artĂculo analiza la pelĂcula de los hermanos Coen El hombre que nunca estuvo allĂ, paradigmático ejemplo de cine neo-noir posmoderno. Más concretamente, en nuestro análisis nos fijamos en el personaje de Birdy, la jovencita seductora de hombres adultos protagonizado por Scarlett Johansson, que parece encarnar a la perfecciĂłn el mito de Lolita. Un exhaustivo análisis de la representaciĂłn de este mito asĂ como una comparaciĂłn con la novela original de Vladmir Nabokov, nos lleva a concluir que en realidad los hermanos Coen proponen una parodia de este mito mediático valiĂ©ndose de los recursos propios del cine posmoderno: intertextualidad, pastiche y metaficciĂłn historiográfica propuesta por Linda Hutcheon. Una parodia similar se observa en Flores Rotas, film de Jim Jarmusch analizado al final del artĂculo. Ambas parodias sirven para la distancia irĂłnica asĂ como para la alimentaciĂłn de un mito que, aunque de origen literario, encuentra en la cultura audiovisual contemporánea un altavoz privilegiado
Wychodząc z „baserri”. Queerowe kino baskijskie dzisiaj
W niniejszym artykule autorki przyglÄ…dajÄ… siÄ™ temu, jak nowe kino baskijskie – zwĹ‚aszcza to realizowane w jÄ™zyku baskijskim – reprezentuje seks i miĹ‚ość w obrÄ™bie spoĹ‚ecznoĹ›ci LGBT. Agirre i Fresneda skupiajÄ… siÄ™ na dwĂłch filmach: Ander (reĹĽ. Roberto CastĂłn, 2009) – historii miĹ‚osnej miÄ™dzy rolnikiem i jego imigranckim pomocnikiem, oraz 80 dni (reĹĽ. JosĂ© MarĂa Goenaga, Jon Garaño, 2010) – opowieĹ›ci o romansie miÄ™dzy dwiema starszymi kobietami, ktĂłre przyjaĹşniĹ‚y siÄ™ w mĹ‚odoĹ›ci. Agirre i Fresneda dowodzÄ…, ĹĽe tematyka gejowska zostaje w tych filmach spleciona z wyznacznikami tradycyjnej baskijskiej toĹĽsamoĹ›ci, zwĹ‚aszcza tymi, ktĂłre odnoszÄ… siÄ™ klasycznego konfliktu toĹĽsamoĹ›ciowego wiÄ…ĹĽÄ…cego siÄ™ z przynaleĹĽnoĹ›ciÄ… do przestrzeni wiejskiej bÄ…dĹş miejskiej, a nawet prywatnej bÄ…dĹş publicznej, co jest symbolizowane przez baserri – tradycyjne baskijskie gospodarstwo wiejskie, ktĂłre w obu filmach peĹ‚ni kluczowÄ… rolÄ™
Feminist Challenges in the Social Sciences: Gender Studies in the Basque Country
This book reflects many of the profound social, political, and economic changes that have influenced the UPV/EHU since the 1980s. This process shaped a complex social and political reality in the Basque Country that is mirrored in the diversity of authors and topics in the book. These authors do, however, share a feminist outlook and these chapters provide a general, albeit partial, overview of Basque feminist scholarship. The book is indicative of a twofold series of feminist challenges: There is the challenge of describing and reflecting upon the changes that have occurred in recent decades as regards the presence of women in the job market, in politics, and in public life. These are spheres where feminist activity—institutional, academic, and professional—has flourished to a considerable extent, but where inequalities, though often highly sophisticated and therefore difficult to identify, nonetheless remain evident. And there is a challenge in another sense as well, because the material gathered here represents a vital contribution to general research in the fields of anthropology, sociology, history, law, economics, political science, and communications sciences.This book was published with generous financial support from the Basque Government.Introduction — Mila Amurrio and Mari Luz Esteban ? Part 1 The Social Standing of Men and Women: Gender Visibility and Invisibility ? 1. The Social Status of Men and Women in the Basque Country by Ainhoa Novo and Arantxa Elizondo ? 2. The Construction of Female Identity through Press Photography: El PaĂs and El Mundo by Flora Marin Murillo and Maria Ganzabal Learreta ? Part 2 The University, Knowledge, and Feminist Research ? 3. Higher Learning and Equality Politics at the University of the Basque Country by Jasone Astola and Mertxe Larrañaga ? 4. Demythicizing, Unveiling, Challenging: A Review of Twenty-five Years of Feminist Academic Production (1985-2010) by Jone M. Hernández and Elixabete Imaz ? Part 3 Rewriting Memory, Reinterpreting Culture ? 5. "Be Cautious, Not Chaste!" Gender Ideals and Sexuality by Nerea Aresti ? 6. Patriotic Mothers of Basque Nationalism: Women's Action during the Second Spanish Republic in the Basque Country by Miren Llona ? 7. Spanish Cinema through its Women Directors: 1995-2005 by Casilda de Miguel, Leire Ituarte, and Katixa Agirre ? 8. Matriarchy versus Equality: From Mari to Feminist Demands by Carmen DĂez Mintegui and Margaret Bullen ? 9. Identity, Memory, and Power Games by Teresa del Valle ? Part 4 Gender Relations: Analysis and Proposals ? 10. Three Decades of Reproductive Rights: The Highs and Lows of Biomedical Innovations by Itziar Alkorta Idiakez ? 11. Love and Violence in Learning about Relationships by Mila Amurrio and Ane Larrinaga ? 12. Conciliation and Participation by Idoye Zabala Errazti, MarĂa JosĂ© MartĂnez Herrero, and Marta Luxán Serrano ? 13. Anthropology of the Body, Corporeal Itineraries, and Gender Relations by Mari Luz Esteban ? Index ? List of Contributor