Linguistic pluralism and dubbing in Spain

In 2011, Agustí Villaronga’s Pa Negre won nine Goya Awards and was selected as Spain’s entry at the Oscars. However, the original language of the film (Catalan) ruffled some conservative feathers. As a consequence, the Spanish right-wing media repeatedly questioned Pa Negre’s artistic merit and Span...

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Main Author: Carlos Menéndez-Otero
Format: Article
Language:English
Published: Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel 2013-04-01
Series:Mise au Point
Subjects:
Online Access:https://journals.openedition.org/map/1374
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author Carlos Menéndez-Otero
author_facet Carlos Menéndez-Otero
author_sort Carlos Menéndez-Otero
collection DOAJ
description In 2011, Agustí Villaronga’s Pa Negre won nine Goya Awards and was selected as Spain’s entry at the Oscars. However, the original language of the film (Catalan) ruffled some conservative feathers. As a consequence, the Spanish right-wing media repeatedly questioned Pa Negre’s artistic merit and Spanishness. Taking that smear campaign as starting point, the paper explores the complex, and often controversial, linguistic dynamics of television broadcasting and theatrical film exhibition and distribution in Spain, especially where a regional language is co-official with Spanish.More specifically, the paper first provides a historical overview of dubbing in Spain. Next, it assesses the political recognition of regional languages in Spain and the role that regional pubcasters have played in their normalization. The paper concludes by addressing the continuing dominance of Castilian Spanish-dubbed US films at Spanish theaters, despite costly efforts on the part of regional governments to increase the number of releases in Galician, Basque and Catalan.
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spelling doaj-art-01e82702e9b94157b40fbcbcfec0566a2025-08-20T02:34:05ZengAssociation Française des Enseignants et Chercheurs en Cinéma et AudiovisuelMise au Point2261-96232013-04-01510.4000/map.1374Linguistic pluralism and dubbing in SpainCarlos Menéndez-OteroIn 2011, Agustí Villaronga’s Pa Negre won nine Goya Awards and was selected as Spain’s entry at the Oscars. However, the original language of the film (Catalan) ruffled some conservative feathers. As a consequence, the Spanish right-wing media repeatedly questioned Pa Negre’s artistic merit and Spanishness. Taking that smear campaign as starting point, the paper explores the complex, and often controversial, linguistic dynamics of television broadcasting and theatrical film exhibition and distribution in Spain, especially where a regional language is co-official with Spanish.More specifically, the paper first provides a historical overview of dubbing in Spain. Next, it assesses the political recognition of regional languages in Spain and the role that regional pubcasters have played in their normalization. The paper concludes by addressing the continuing dominance of Castilian Spanish-dubbed US films at Spanish theaters, despite costly efforts on the part of regional governments to increase the number of releases in Galician, Basque and Catalan.https://journals.openedition.org/map/1374film industryaudiencesBasqueCastilian SpanishCatalanCatalonia Film Law
spellingShingle Carlos Menéndez-Otero
Linguistic pluralism and dubbing in Spain
Mise au Point
film industry
audiences
Basque
Castilian Spanish
Catalan
Catalonia Film Law
title Linguistic pluralism and dubbing in Spain
title_full Linguistic pluralism and dubbing in Spain
title_fullStr Linguistic pluralism and dubbing in Spain
title_full_unstemmed Linguistic pluralism and dubbing in Spain
title_short Linguistic pluralism and dubbing in Spain
title_sort linguistic pluralism and dubbing in spain
topic film industry
audiences
Basque
Castilian Spanish
Catalan
Catalonia Film Law
url https://journals.openedition.org/map/1374
work_keys_str_mv AT carlosmenendezotero linguisticpluralismanddubbinginspain