{"title":"On shifting sands: Exploring the role of the third space in new Basque cinema’s Pikadero and Oreina","authors":"Beñat Doxandabaratz","doi":"10.1386/ijis_00119_1","DOIUrl":null,"url":null,"abstract":"Cinema is a powerful tool for depicting and critically addressing the dual nature of identity (composed of both individual and social traits). This article analyses two underrated titles of the post-2005 wave of Basque-language cinema: Pikadero (Sharrock 2015) and Oreina (The Deer) (Almandoz 2018). In both films, certain liminal third spaces – the ‘non-places’ coined by Augé and the ‘in-between’ spaces formulated by Bhabha – seem to interact with the misfit characters, who live between rootedness and lack of belonging within a new social context created by the influx of migrants and the economic crisis in the Basque Country. The article argues that these on-screen third spaces (mainly the railway station and the peripheral marshlands in Pikadero and The Deer, respectively) become a kind of resilient deuteragonist in their own right, i.e. witnesses or accomplices to the protagonists’ wanderings and their shallow and fleeting relationships. There is, however, a difference between the non-places featured in Pikadero, which mainly evoke solitude and similarity, and those in-between spaces present in The Deer. The latter appear as metaphorical hybrid places that can harbour otherness and foster collective solidarity, thus playing a role in shaping the new centrality of Basque identity.","PeriodicalId":41910,"journal":{"name":"INTERNATIONAL JOURNAL OF IBERIAN STUDIES","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"INTERNATIONAL JOURNAL OF IBERIAN STUDIES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ijis_00119_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"SOCIAL SCIENCES, INTERDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
Cinema is a powerful tool for depicting and critically addressing the dual nature of identity (composed of both individual and social traits). This article analyses two underrated titles of the post-2005 wave of Basque-language cinema: Pikadero (Sharrock 2015) and Oreina (The Deer) (Almandoz 2018). In both films, certain liminal third spaces – the ‘non-places’ coined by Augé and the ‘in-between’ spaces formulated by Bhabha – seem to interact with the misfit characters, who live between rootedness and lack of belonging within a new social context created by the influx of migrants and the economic crisis in the Basque Country. The article argues that these on-screen third spaces (mainly the railway station and the peripheral marshlands in Pikadero and The Deer, respectively) become a kind of resilient deuteragonist in their own right, i.e. witnesses or accomplices to the protagonists’ wanderings and their shallow and fleeting relationships. There is, however, a difference between the non-places featured in Pikadero, which mainly evoke solitude and similarity, and those in-between spaces present in The Deer. The latter appear as metaphorical hybrid places that can harbour otherness and foster collective solidarity, thus playing a role in shaping the new centrality of Basque identity.