ROM0B125
Baskický film
Basque cinema syllabus
Mandatory films are in bold. The film must be watched before the underlined date, to discuss it in
class.
Introduction to Basque cinema. Etnography, art and cultural domination
Additional bibliography and fimography:
Andrés, Alfonso & Barajas, Javier (dir.) (2013). Esbastika bat bidasoan. Esrec / Naniano / Televisión
Española (TVE) / ETB
Basterretxea, Nestor & Larruquert, Fernando (dir.) (1968) Ama Lur. Frontera Films Irún /
Distribuidora Cinematográfica Ama Lur, S.A.¨
Martínez, Josu (dir.) (2015). Gure sor lekuaren bila. La Tentación Producciones.
Welles, Orson (dir.) (1955). „The land of Basques“. In Around the world.
Brieger, Herbert (dir.) (1944). Im Lande der Basken.
Sobrevila, Nemesio (dir.) (1937). Guernica. Robert Petiot / Agustín Ugartechea / José María Beltrán
A. Baserri culture. Ideology and crisis
Mandatory fimography:
8.3.2018: Medem, Julio (dir.) (1992). Vacas. Sogetel, Idea S.A.
What is represent the forest between the two lands? What the scarescraw? What the hole in the rott
tree? What the cows („vacas“)? What do have in common the camera, the cow and the hole?
15.3.2018: Altuna, Asier (dir.) (2015) Amama. Txintxua Films
What is representing the grandmather („amama“)? What are representing the coloured trees in the
forest? Tradition or modernity: which is the idea supported by the film?
Additional bibliography and fimography:
Armendariz, Montxo (dir.) (1984) Tasio. Elías Querejeta P.C.
(2005). Obaba. Oria Films S.L. / Pandora Film / Neue Impuls Films
Egaña Etxeberria, Ibon (2008). "La memoria como identidad en el cine de Julio Medem: Vacas y Los
amantes del círculo polar." I Congreso Internacional de Literatura y Cultura Españolas
Contemporáneas 1 al 3 de octubre de 2008 La Plata, Argentina. Los siglos XX y XXI.
Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación.
Centro de Estudios de Teoría y Crítica Literaria.
Fiennes, Sophie & Žižek, Slavoj. 2006. The Pervert’s Guide to Cinema.
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Lorente, Eneko & de Diego, Rosa (2016). "Cine e imaginario rural en el País Vasco". Diálogos en la
frontera. De la cultura popular a la cultura de masas en la era moderna. Beltrán Almería, Luis;
de Diego, Rosa; Sotelo Vázquez, Marisa; Thion Soriano-Mollá, Dolores (coords.). IFC. pp. 263-
282.
Gabilondo, Joseba (2002). “Uncanny identity: violence, gaze and desire in contemporary Basque
cinema”. Jo Labanjy (ed). Constructing identity in contemporary Spain. Theoretical debates
and cultural practice, Oxford, Oxford University Press
Zulaika, Joseba (2014). „Baserria eta auzotasuna = La cultura de los casoeríos y vecindades = The
Baserri and Auzo Culture.“
B. Basque matters in cinema. Political conflict and violence from the boarders.
Mandatory fimography:
22.3.2018: Medem, Julio (dir.) (2003). La pelota vasca: la piel contra la piedra. Alicia Produce, S.L.
What is representing the pelota court? What is the main view or idea supported by the director?
29.3.2018: Uribe, Imanol (dir.) (1983). La muerte de Mikel. Aiete Films, Cobra Films, José Esteban
Alenda.
Which would you say is the relation, if exists, between the Mikel’s death („La muerte de Mikel“) and
the Basque political conflict? How city and country are depicted by the film?
5.4.2018: Taberna, Helena (dir.) (1999). Yoyes. C.I.P.I. Cinematográfica S.L. / MACT Productions /
Marvel Movies
Which is the relation of Yoyes‘ woman condition and the different conflict placed in the film? Which
do you think is the relation between Mikel’s and Yoyes‘ death?
Additional bibliography and fimography:
Altuna, Asier (dir.) (2004). Topeka. Alokatu S.L.
Armendariz, Montxo (dir.) (2001) Silencio roto. Oria Films.
De la Iglesia, Alex (dir.) (2010) Balada triste de trompeta. Motion Investment Group / Canal+ España /
Castafiore Films / La Fabrique de Films / TVE / Tornasol Films
De Pablo, Santiago (1998). „El terrorismo a través del cine: un análisis de las relaciones entre cine,
historia y sociedad en el País Vasco“. Comunicación y Sociedad, vol. XI, n. 2. Pp 177-200.
De Pablo, Santiago (2007). „Una guerra filamada. El cine en el País Vasco durante la Guerra Civil.“
Historia contemporanea, 35. Pp 623-652.
Díez, Ana (1989). Ander eta Yul. Igeldo Zine Produkzioak / ETB / TVE
Maia, Jon (dir.) (2012). Gazta zati bat. Nazioen Mundua / Pixel Producciones Audiovisuales.
Merino, Aitor & Merino, Amaia (2013). Asier eta biok
Uribe, Imanol (dir.) (1981). La fuga de Segovia. Frontera Films Irún S.A.
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(1994). Días contados. Ariane Films / Aiete Films / Sogepaq
Urmeneta, Asisko & Elordi, Juanjo (dir.) (2011) Gartxot. Somuga.
VVAA. Ikuska (1979-1984). Antxon Ezeiza / Luis Iriondo / Bertan Filmak / Orbegozo Fundazioa /
Euskadiko Kutxa.
100 METRO
C. Desindustrialization, drugs and kinki cinema.
Mandatory fimography:
12.4.2018: De la Iglesia, Eloy (dir.) (1983). El pico. Ópalo Films.
Which are the different (two at least) roles played by Torrecuadrada (Paco’s father)? What does
Torrecuadrada’s uniform represent? How the drugs and its effects are presented from different points
of view?
Additional bibliography and fimography:
Armendariz, Montxo (dir.) (1986) 27 horas. Elías Querejeta P.C.
D. Getting identity out of focus. Parody and mess.
Mandatory fimography:
19.4.2018: Martínez-Lázaro, Emilio (2014). Ocho apellidos vascos. Lazonafilms / Kowalski Films /
Telecinco Cinema
How are gender and gender relations depicted the film? Which is the relation between the political
conflict and the „sex war“ (love-hate relationship between characters)?
26.4.2018: Bajo Ulloa, Juanma ( 1997). Airbag. Marea Films / Asegarce Zinema / Road Movies Britte
Produktionen / MGN Filmes
The film could be considered a „road movie“: how could this genre get Basque identity out of focus (if
it does)? Dust has two additional colloquial meaning in Spanish (drugs and sex), which is the relation
between the different „dusts“ represented in the film?
Additional bibliography and fimography:
Cobeaga, Borja (dir.) (2009). Pagafantas. Telespan 2000 / Antena 3 Films / Sayaka Producciones
Audiovisuales / ETB
Cobeaga, Borja (dir.) (2014). Negociador. Sayaka Producciones Audiovisuales / Telecinco Cinema
Iturrioz, Beñat & Padrin, Xabier (dir.) (2013). Ataun Of The Dead. Katihotsak Logia Kultur Elkartea
Iturrioz, Beñat & Padrin, Xabier (dir.) (2014). Joxean's Hil Eben (Ataun Of The Dead II). Katihotsak
Logia Kultur Elkartea
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E. Basque cinema within globalization culture.
Mandatory fimography:
3.5.2017: Altuna, Asier (dir.) (2012). Bertsolari. Txintxua Films.
The film is directed by Asier Altuna, Amama’s director: what do you think both films have in common?
Which images are used to explain what „bertsolaritza“ is?
10.5.2017: Goenaga, José María & Garaño, Jon (dir.) 80 egunean. Irusoin/Moriarti Produkzioak.
From whose point of view is the film performed? Why do you think Axun’s and Maite’s relationship is
mostly developed in a hospital room?
17.5.2017: Garaño, Jon eta Goenaga, José Mari (2014). Loreak. Irusoin / Moriarti Produkzioak
What sort of things do the flowers („loreak“) represent in the film?
Additional bibliography and fimography:
Altuna, Asier eta Esnal, Telmo (dir.). (2005). Aupa Etxebeste! Alokatu / Irusoin / ETB.
De la Iglesia, Alex (dir.) (1995) El día de la bestia. Iberoamericana / Sogetel
(2000) La Comunidad. Lolafilms.
De Pablo, Santiago (1996). El cine en Euskal Herria (1986-1995). Vitoria-Gasteiz: Diputación Foral de
Álava.
Erice, Víctor (dir.) (1973) El espíritu de la colmena. Elías Querejeta PC / CB Films
Esnal, Telmo (dir.) (2011). Urte berri on, amona! Irusoin.
Fernández, Joxean (2012). Euskal zinema=Cine vasco=Basque Cinema. Etxepare
Martí-Olivella, Jaume (2003). Basque Cinema: an introduction. Reno: Center for Basque Studies,
University of Nevada.
Reig, Nacho (dir.) (2010). Amerikanuak. Berde produkzioak.
How to reproduce the films
The films are available in Mega (https://mega.nz/#F!3Z9lGDoZ!hjMSp1vQPTVCgidPPC7LLQ) and in an
attached document shared in Study materials on IS.
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Each lesson is related with a film, the films are ordered with a letter and a numbers.
To play the videos, you must download them before. The best way not to have troubles with the
subtitles is to use VLC software to reproduce them. VLC is a free and open source program. You could
download and install it followin the instructions in this webpage:
http://www.videolan.org/vlc/
Mostly, the subtitles will be available in different languages in the folder that contains the movie.
These subtitles are correctly synchronized with the video (1), but other videos do not have correctly
synchronized subtitles, so you have to add using a VLC pluging which downloads and synchronized
subtitles (2).
1. Adding subtitles contained in the folder (i.e. Airbag)
1.1.Download movie and subtitles
1.2.Open the movie with VLC
1.3.While the movie is opened with VLC, open the folder that contains downloaded subtitles (.srt
file) and drag it to the VLC window. Another way to do so is to click in “Subtitles” window and
then “Add subtitles” and choose the .srt file’s location.
1.4.In few seconds the movie will be available with subtitles
2. Adding subtitles with VLC subtitle plug-in (i.e. Vacas)
2.1.Download VLSub plugin of VLC (if you recently have updated the software, it will probably
have this plugin added)
2.2.Follow the instructions in this link:
https://www.maketecheasier.com/get-vlc-to-download-subtitles/
Enjoy the films!