ANUARIO SGAE 2012 PDF

ANUARIO SGAE 2012 PDF

Visited on 27 March ,. [6]SGAE (): Anuario SGAE de las artes escénicas, musicales y audiovisuales Society of Authors and Editors (SGAE – Sociedad | E-ISSN |. 3/18 that connects the resulting sound production. Likewise, annual frequency has fallen from in to in Figure 2 Source: SGAE As regards Anuario UTECA (pp. ).

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The selection of the interviewee in each home was made using gender and age quotas. In this sense, censorship and manipulation should be considered not only in the production of texts but also in their distribution and social propagation.

The crisis in the Spanish theatre was officially declared. Part of this trend is related to average income, since the people with a higher educational background tend to have better-paid jobs and are wealthier. On top of that, educational background may also be related to demand for quality or level of expectation; those anjario a lower education level may not be so demanding in terms of quality and are anuaroi easily satisfied with any sort of content.

On the contrary, Spanish viewers aged between 45 and 75 years old are not frequent consumers of DVDs or Blu-rays.

Nevertheless, the piracy rate is still high. Figure 4 shows the genres of television programmes favoured by viewers. Currently, subtitles in standard Basque are used when the use of dialects could anuairo comprehension problems for the audience.

Only this magic formula explains why the box office rose from In this regard, television remains the most popular means of entertainment. Movies are still one of the favourite entertainment products. As a general rule, as well as following the criteria and rules set out by the Euskaltzaindia for the use of unified Basque, presenters may enrich their standard speech with elements of their own regional dialects. The objective is to explore whether the screens usually used by Spanish viewers to watch films are those for which they express a particular preference.

And it is precisely from the TRACE project on censored translations that research on Basque television was initially planned and sgaee now being carried out. It is striking that, as far as ETB1 and ETB2 are concerned, the Basque State Broadcaster is itself responsible for creating the imbalance between the programming on its two channels, in spite of the vast human and economic resources at its disposal.

Nevertheless, nobody seemed to take into account in the danger signs that, in spite of the apparent good health of our theatre, were fairly obvious.

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A comprehensive study of the control and censorship of audiovisual translations can be an interesting way of detecting and analysing cultural conflict and changing social norms. Pablo Carbonel and Leire Ruiz.

However, Basque is an official language, zgae with Castilian Spanish, only in Euskadi and certain parts zgae Navarre. Theater versus Video Consumers. For Basque speakers, who also know Spanish, the presence of Spanish subtitles was more of a hindrance than a help since they found themselves distracted into making comparisons between what they heard and what they read. Manipulating Textual Cohesion on Different Levels. That is, knowing that town halls would delay their payments, many theatre companies used to invest their own money to put the play on the stage first, even though they were aware they had to wait a few— sometimes many—months to see their money return.

The Budget is the Thing: Spanish Theatre in Recession (Spain)

In spite of the small size of the Basque Country, the history and isolation that have shaped the rural areas have contributed to dividing Basque into six different dialects and various subdialects, which anjario substantially different in terms of their phonetics, lexicon and morphology. However, this language model is ultimately a false didacticism since it makes use dgae forms which belong to the standard written form and not to ssgae spoken register, rendering the audiovisual text less expressive and less credible.

In both cases, we will further explain the anjario in relation to the main socio-demographic variables sex, age and educational background.

Finally, educational background is a key factor in relation to screen preference. The aim of this paper is to show the socio-cultural context of audiovisual translation AVT in the Basque Country. Consequently, the sgze and reception of translations is conditioned by the patronage Lefevere operated by the Basque channel of the state broadcaster in so far as it provides sgxe funding to support the AVT industry. Their authors acknowledge that some of their findings are only shae relevant, either because their sample was limited in terms of target population or because they were taking results from different, not always very homogeneous, databases and statistics.

As a result, everything had to be started from scratch in order to create local forms of audiovisual translation. The absence of a film industry to drive the production of original audiovisual work resulted in the decision to import and then translate and dub foreign productions.

Her truly pioneering work on Catalan television helped fill a gap and opened the way to further investigation centred on the language of small minorities that, as Danan This programming model is yet another example of the diglossic situation of Basque with respect to Spanish, and while Spanish-speaking viewers have access to a wide range of audiovisual wnuario and types, Basque-speaking viewers are unable to watch most programmes in Basque.

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The defence of cultural identity, the very idea of a nation and, last but not least, economic matters were as current in the s as they are nowadays. In a country traditionally and stereotypically known for enjoying life, theatrical entrepreneurs have decided to give spectators what they apparently want: This may prompt the conclusion that most of the movie consumption online is free.

Several scholars have also addressed the relationship between television and new media —and the internet in particular— directly Palmer, ; Adams, ; Doyle, ; Gunter, Yet, the choice of dubbing may also be explained by the fact that Basque television is part of the Spanish audiovisual system and the diglossic situation of Basque in that cultural system encourages the imitation of Spanish habits.

The data used in the empirical part of the paper comes from an original survey designed by the authors conducted in June When the housing bubble exploded, many personal stories were also shattered.

Audiovisual Translation in the Basque Country: – Meta – Érudit

If dubbing studios do not meet these linguistic and artistic standards, they may risk losing their contract. In our opinion, this first outcome mirrors the picture of the audiovisual markets offered in section 3. The previous market analysis is based on reports and statistics from official institutions and private consultancy firms.

Conclusions and discussions Some partial conclusions have been mentioned above. Sphera Publica 8 Is the current window sequence obsolete or, on the contrary, will migration to the new forms of digital consumption take some time? The force of law. Thus, from the gender point of view table 9women like to watch movies on Anaurio more than men Rather paradoxically, this means 20122 teenage viewers who want to see imported series or films are forced to switch channels and, in doing so, to switch languages.

One key question nobody wanted to ask was how to maintain public theatres. Two factors have been decisive in the recent flowering of cultural production in Basque.