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The industry argued that, given the lack of social demand for films in Catalan, linguistic parity would make film exhibition commercially nonviable. In addition, the new law obliged them to include a Catalan language option on every DVD distributed in the region. The film industry immediately retaliated by filing complaints against the Film Law in Spanish and European courts.

In fact, very few adults ever see films in Basque in the Basque Country, and both the regional government and the film industry remain staunchly opposed to introducing a Catalonia-like quota. Twenty-some commercial films, mostly addressed to young audiences, are dubbed into Basque and run to packed houses for an average of two weeks every year. In this vein, in October , the Basque government started sponsoring the audience-building scheme Zineuskara Gizartean , which has since allowed 40, schoolchildren aged 3—12 and their teachers—who have also been provided with film guides for use in the classroom—to attend a total of six family films in Basque during school hours.

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However, this goal has not been met and is unlikely to be achieved in the near future. Nevertheless, following the controversial theatrical release of Indiana Jones and the Kingdom of the Crystal Skull Steven Spielberg, , which came out with no prints in Galician, the regional government announced that public support for theatrical film dubbing would be discontinued because of high costs 21 and noncommitment from distributors, with funds diverted to promote the use of Galician on television, mobile devices and the Internet.

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The main reasons for such praise lie in precise lip synchronization 23 and careful voice casting that characterize most Spanish-dubbed films and series, effectively creating the illusion that Hollywood stars do speak Spanish—or at least the variety overabundant in calques from English that results from synch-dependent, increasingly rushed 24 and often politically skewed translations and adjustments of foreign dialogue tracks.

On the one hand, it could be argued that the aim of normalization has placed regional language dubbing in a subordinate position by trying to replicate, regionally, the very tradition from which it originally arose. On the other hand, it could also be argued that in a country where lip synch is synonymous with quality dubbing, 25 the very aim of normalization has been a major obstacle to social recognition of regional language dubbing. In fact, more than a decade after Agost , 46 and Mayoral , 42—43 among others thought they were witnessing the early stages of a shift to subtitling, dubbing is still alive and well, as Zaro rightly predicted in It may save itself from the inconvenience of defending its trade as essential for normalization while questioning the usefulness of original versions for learning foreign languages—if only because many people have been learning Catalan, Galician and Basque as if they were foreign languages, whereas some others have come to regard Spanish, rather than English, as the foreign language from which dubbing must protect regional languages.

Be that as it may, it is well beyond the scope of this paper to determine whether dubbing or subtitling provides better protection against what hegemonic social groups deem as foreign influence. Well aware of the importance of dubbing, despite criticism from audiences and dubbing professionals alike, the regional governments of Catalonia, the Basque Country and Galicia created dependent pubcasters in the early s. These pubcasters were empowered to carefully monitor the language used in film and television dubbing, and ensure its compliance with the linguistic, cultural and political standards the regional governments wished to promote.

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However, in spite of generous incentives and subsidies to distributors and exhibitors, a combination of audience habit, film industry interests and social perception has hindered its progress on the big screen, where 9 out of every 10 films are available only in Castilian Spanish. Nevertheless, in the last few months, most distributors and exhibitors have continued to insist on the lack of demand for films in Catalan, especially in the suburban areas of Barcelona.

Full text issues

Consell Audiovisual de Catalunya. Conclusiones, propuestas y recomendaciones. La dieta cultural dels catalans Pintura negra de los Goya. Audiencia general de medios en la CAE.

El doblatge. Agost R. Ballester A.

Guide Peliculas clave del cine de animacion (Spanish Edition)

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Castro X. Chaves M. El doblaje. Comes L. Quaderns del CAC, , no. De Miguel M.