🚀 go-pugleaf

Luistxo Fernandez wrote:

> Instead, I'll try to give some examples about the issue that started all
> this: cinema, language, basqueness. I'll do so bringing not localist
> examples, but global ones.

Kaixo delitugileei (Milak erranen luke bezala) Tuteratik:

Aspaldiko ez dut parterik hartu basque-l-n, joan den udan internetarekin hagitz
gutxitan konektatzen bainuen.  Orain nere egoera finkoagoa denez, berriz
ibiliko naiz foro honetan.  Beno, euskal zinemari buruzko eztabaidaz zerbait
aipatzeko gogoa neukan, berandu samar, baina gai honetaz aunitztan pentsatzen
dut.

On the whole, I agree with Luistxo and Mikel's viewpoints, which, as Luistzo's
enlightening examples demonstrate, are more in concordance with how national
cinemas are treated on an international level.  Indeed, I would go as far as to
say that it is only the combination of a lingering basque inferiority complex
and the dominance of prepotent Spanish nationalist (or US imperialistic)
perspectives that cloud the dictates of commonsence with respect to (real and
virtually inexistent) basque cinema.

Some brief notes on the various positions expoused in basque-l:

1)  Nowhere is the national classification of a film based on the director's or
actors' origens.  Luistxo's examples clearly demonstrate this. [i.e. Bertolucci
clearly makes Amercan cinema].  Films are traditionally categorized based on
language and where they are financed.  A film's content usually plays no role
in this determination: for example, Bertolucci's "Little Budha" is still an
American film.

2)  In Spanish or for that matter English, people like to throw around the term
"new basque cinema" to explain the works of any young director who has anything
to do with EH.  Yet what makes these movies (Bajo Ulloa, Alex de Iglesia &
co.'s made in Spanish productions) Basque cinema and not Spanish cinema is far
from clear.  Or is someone really suggesting that Imanol Uribe's "El rey
pasmado" or Armendariz's "Las cartas de Alou" is basque cinema?   When speaking
in euskara, would anyone really refer to a film such as "Salto al vacio" as
"euskal zinema"?

3) While some films about life in Euskal Herria may be Basque in the same
manner as Almodovar's works are Madrileno (in that they represent a "regional"
reality), they certainly are not national cinema in the same way that "Les 400
coups" is French cinema.  In fact, I would argue that, due to the fact that
these so-called basque movies routinely surpress the single most important
element of basque identity --that is, euskara--, they are significantly less
"basque" that Almodovar's films are "madrileno".  Anyways, this is certainly
not my conception of Basque cinema, a regional variation of Spanish language
cinema.

4)  Of course, what make a film in spanish "basque" is not a cut and dry
issue.  On the other hand, there is little doubt as to what basque-language
cinema / "euskal zinema" is.  And basque-language cinema, even a kung fu movie
directed by Almodovar and shot in Korea but in euskara, is basque national
cinema.

More on the issue of what constitutes a national cinema in another post.


>     Luistxo

Izan huntsa,
David

Koldo Izagirre:
"Si les digo que entre vascos un vasco, un o una euskaldun, es aquella persona
que sin mas, habla vasco, no estoy refiriindome a ipocas idmlicas. Hoy, en una
sociedad que irsnicamente podrmamos llamar post-desarrollada, ese csdigo se
cumple al cien por cien