El acento canario en el cine y el teatro españoles: un primer acercamiento

Fernando Becerra Bolaños
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Abstract

The absence of the Canarian accent in the Spanish Cinema and TV Series is perceived by the inhabitants of the Archipelago as an element of marginality compared to other accents of the Spanish state. However, it is more widespread than we might think as there is a tradition of a type of diction, intonation and melody called «neutral», heir to classical theatre, radio and film dubbing; that was imposed in all film productions in Spanish since the beginning of the last century. The latest Canarian productions generate hope by opening the ear beyond the neutral accent and educating from the richness of one of the outermost European accents. Perhaps in the future our Canarian accent, heir, mestizo and open, but warm and closer to the speech of millions of Spanish-speakers can serve as a substitute for the neutral Castilian accent in audiovisual productions in our language. In this paper we try to analyze more in detail.
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西班牙电影和戏剧中的金丝雀口音:第一个方法
西班牙电影和电视剧中加那利口音的缺失被群岛居民视为与西班牙其他国家口音相比的边缘化因素。然而,它比我们想象的要广泛得多,因为有一种被称为“中性”的措辞、语调和旋律的传统,它是古典戏剧、广播和电影配音的继承人;自上个世纪初以来,所有西班牙电影都被强制执行了这一规定。最新的加那利制作通过打开耳朵超越中性口音和教育最外层的欧洲口音之一的丰富性,产生了希望。也许在未来,我们的加那利口音,继承,混血儿,开放,但温暖,更接近数百万西班牙语使用者的语言,可以在我们的语言视听作品中代替中立的卡斯蒂利亚口音。在本文中,我们试图对此进行更详细的分析。
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El cine que nos lleva. Entrevista con José Luis Sampedro Gonzalo M. Pavés (2021). Bigas Luna. El gran fabulador. Sueños, obsesiones y algunas otras ibéricas perversiones. Laertes. De los dioses de Homero al "evemerismo" cinematográfico El acento canario en el cine y el teatro españoles: un primer acercamiento Código Lyoko, la referencia de la animación paralela
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