Speaking Up/Coming Out: regions of Authenticity in Juan Pinzás's Gay Galician Dogma Trilogy

• Autores: Ryan Prout
• Localización: Galicia21: Journal of Contemporary Galician Studies, ISSN-e 2040-7181, Nº. 1, 2010, págs. 68-91
• Idioma: inglés
• Enlaces
  • Texto completo (pdf)
• Resumen
  • English

    While Dogme 95 is often associated exclusively with Scandinavia, its manifesto and Vow of Chastity were taken up by filmmakers from across Europe as well as in North and South America. The three films made according to the format in Spain are the work of director Juan Pinzás (b. Vigo, 1955) and comprise the �Trilogía de la vida, de amor, y de sexo�: Era outra vez (2000), Días de voda (2002), and El desenlace (2005). The last film in the Spanish trilogy was also the final film to receive official certification from the Dogme 95 movement. The article argues that Pinzás exploits the strait-jacket of Dogme, in particular its rules about the use of sound, to focus attention on diglossia in Galicia and in order to portray as naturalistic the use of the Galician language on screen and between younger speakers. It also contends that the trilogy explores in parallel two coming-out processes: one which would affirm a gay man�s true sexual identity and another which authenticates the Galician-speaking status of young middle class characters. The article finds that this parallel reading is complicated by the third instalment of the trilogy in which key roles are played by new actors speaking in Spanish.

  • galego

    O Dogma 95 asóciase a miúdo exclusivamente coa Escandinavia, mais o seu manifesto ou �voto de castidade� foron adoptados por numerosos cineastas doutros países europeos, de América do Norte e do Sur. Os tres únicos traballos cinematográficos en España que responden a este formato son obra do director Juan Pinzás (Vigo 1955) e comprenden a coñecida �Trilogía de la vida, de amor, y de sexo�: Era outra vez (2000), Días de voda (2002) e El desenlace (2005) . O último filme na triloxía española foi tamén o derradeiro traballo que recibiu a certificación oficial do movemento Dogma 95. Este artigo expón que Pinzás explota as estritas normas do Dogma, especialmente as súas regras sobre o uso do son, para centrarse na diglosia en Galiza coa fin de retratar o uso da lingua galega na pantalla de xeito naturalizado entre a xente nova. Asemade, o artigo defende que a triloxía explora paralelamente dous procesos de �saída do armario�: un que reafirma a verdadeira identidade sexual dun home homosexual, e outro que intenta validar a unha mocidade galega de clase media como galego-falante. O artigo defende que este paralelismo se complica na terceira parte da triloxía, na que certos papeis fundamentais son interpretados por actores diferentes en lingua castelá.