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En muy pocas ocasiones se da el hecho de que los responsables
del gobierno o las administraciones públicas, entes encargados
de promover y difundir la creación cultural, sean capaces de apoyar
una tendencia creativa que, cuando menos, es controvertida en sus
proposiciones estéticas y formales, alejadas de las corrientes
creativas enmarcadas dentro...
Citations
... Neste artigo analizaranse as fontes críticas aparecidas en medios, soportes electrónicos e textos de divulgación, pero excluiranse os textos académicos, aínda que algúns deles aparezan citados, sobre todo como apoio contextual. A abundancia e variedade de análises académicas producidas nestes últimos anos conforma un corpus que podería ser obxecto dunha investigación de seu, pero conviría destacar a existencia de dúas teses de doutoramento, a de Mª Isabel Martínez Martínez (2015) arredor da 'non ficción' e a de Sara Donoso (2018) sobre a paisaxe, e un crecente número de traballos académicos nas tres universidades galegas. Entre os traballos publicados en revistas e libros académicos poden atoparse análises sobre filmes particulares (Redondo 2015;Villarmea 2016), atención a aspectos como o espazo ou a lingua (Amago 2018;Romero 2015) ou achegas de corte máis xeral sobre o movemento (Colmeiro 2017;Pérez Pereiro 2015). ...
... Na crítica galega tamén se pon de relevo o enunciado por Rosenbaum cando sostén que a prensa foi renunciando ao apartado crítico da sección de cultura para reducir a atención ao cinema á actualidade, de xeito que os xéneros (2010), anunciando o seu advir e celebrando a súa aparición. O propio medio fará un seguimento da predición de Pawley nas súas páxinas e no mesmo ano do artigo do crítico publica unha gran reportaxe, 'A profecía cumprida do cine galego que vén' (Martínez 2010), na que, dun xeito tamén autopromocional, celebra o acerto da predición do seu colaborador. No polo oposto atopamos a actitude crítica presente nas páxinas de La Voz de Galicia, nas que o fenómeno NCG é recibido con certo escepticismo. ...
The term ‘Novo Cinema Galego’ was first used by film critic Martin
Pawley in 2010 to name a movement; an emerging generation of Galician
directors that were not ‘late’ in their participation in current debates and
tendencies in contemporary cinema. Since then, a number of critics have
accompanied the movement from militant positions, usually using their
texts to draw attention to new films, trying to turn them into events, as a
strategy to make them relevant by focusing on their prestige within the
international festival circuit (as opposed to more popular films). The label
has proven to be successful, but at the same time the proximity between
filmmakers and critics has revealed some flaws in film criticism in Galician cinema, as shown by some texts written from more distant positions: some controversial subjects tend to be avoided, some filmmakers are ignored and negative comments are quite uncommon. This article explores those kind of conflicts within the context of a small cultural system, using Bourdieu’s work on distinction and the concept of scene (drawn from Popular Music Studies) to examine both the methods with which a peripheral movement can gain international relevance and the tensions those methods create.
Through her films, the Galician filmmaker Margarita Ledo Andión
builds a singular benchmark on the margins of a peripheral
cinema per se: the Novo Cinema Galego. Her performative and
experimental narratives, in line with avant-garde films of other
small European cinemas, her nationalist and feminist (political)
discourse, and her condition as a woman filmmaker situate her
filmography on the intersection of multiple peripheries. This
paper analyzes her most recent film, Nación (2020), from the
perspective of cinema made by women as minor cinema and an
example of “fourth cinema” as an instrument to make visible the
role of women in the class struggle and the construction of
Galician national identity.
This volume aims to research how Catalan, Galician, Basque and Mirandese literature, cinema and art conceptualize alterity with a focus on the corporeal. The articles explore how the Other is constructed from the perspective of minority culture and how their own identities are created in reference to this Other. Furthermore, the authors reflect on how the dominant cultures (Spanish and Portuguese, respectively) inscribe otherness in minority cultures. They also examine the values attributed to the Other and how they manifested themselves through the body from both perspectives, they look at areas of alterity framed in the Catalan, Galician, Basque and Mirandese identities, their possible variants and their multidimensional character.
