{"id":103027,"date":"2018-03-11T10:25:25","date_gmt":"2018-03-11T10:25:25","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/musica-y-narratividad-en-el-cine\/"},"modified":"2018-03-11T10:25:25","modified_gmt":"2018-03-11T10:25:25","slug":"musica-y-narratividad-en-el-cine","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/cinematografia\/musica-y-narratividad-en-el-cine\/","title":{"rendered":"M\u00fasica y narratividad en el cine"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gabriel Sevilla Llisterri <\/strong><\/h2>\n<p>Esta investigaci\u00f3n se plantea un doble objetivo: explicar las relaciones entre m\u00fasica y relato, que hallar\u00edan en el cine un terreno privilegiado, y subrayar la comprensi\u00f3n necesariamente hist\u00f3rica (pol\u00edtica, cultural, social) de dichas relaciones, para lo que el cine franquista de los a\u00f1os cuarenta representar\u00eda, a nuestro juicio, un terreno igualmente propicio. La hip\u00f3tesis que emplearemos para hilar ese doble objetivo entiende que se puede explicar la evoluci\u00f3n institucional del primer franquismo, enmarcado en la llamada \u00e9poca de la autarqu\u00eda (1939-1951), a trav\u00e9s de algunos se\u00f1alados filmes narrativos de ficci\u00f3n que confeccionaron su imagen oficial y que denominaremos aqu\u00ed modelo cruzada. Partimos, en ese sentido, de la comprensi\u00f3n del discurso f\u00edlmico en tanto que s\u00edntoma cultural de la coyuntura en que se produce, y entendemos que su compleja enunciaci\u00f3n puede aportarnos a veces datos coyunturales m\u00e1s significativos que los historizados oficialmente, sea a trav\u00e9s del propio cine o de cualquier otro medio.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>M\u00fasica y narratividad en el cine<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 M\u00fasica y narratividad en el cine <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gabriel Sevilla Llisterri <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 16\/07\/2010<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jenaro Talens Carmona<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: giuliana Colaizzi <\/li>\n<li>Jos\u00e9 Luis Castro de paz (vocal)<\/li>\n<li>Jos\u00e9 Javier Marzal felici (vocal)<\/li>\n<li>  (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gabriel Sevilla Llisterri Esta investigaci\u00f3n se plantea un doble objetivo: explicar las relaciones entre m\u00fasica y relato, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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