{"id":104304,"date":"2018-03-11T10:27:12","date_gmt":"2018-03-11T10:27:12","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/acusticas-del-miedo-lo-siniestro-en-el-cine-fantastico-y-de-terror-a-traves-de-la-banda-sonora\/"},"modified":"2018-03-11T10:27:12","modified_gmt":"2018-03-11T10:27:12","slug":"acusticas-del-miedo-lo-siniestro-en-el-cine-fantastico-y-de-terror-a-traves-de-la-banda-sonora","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/filosofia-del-conocimiento\/acusticas-del-miedo-lo-siniestro-en-el-cine-fantastico-y-de-terror-a-traves-de-la-banda-sonora\/","title":{"rendered":"Ac\u00fasticas del miedo: lo siniestro en el cine fant\u00e1stico y de terror a trav\u00e9s de la banda sonora"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Marcos Sapr\u00f3 Babiloni <\/strong><\/h2>\n<p>En un contexto tan amplio como el cine fant\u00e1stico y de terror es natural encontrar innumerables muestras expl\u00edcitas relativas a la representaci\u00f3n gen\u00e9rica del mal. No obstante, si conseguimos abstraernos de la tradicional supremac\u00eda concedida a la imagen y atendemos debidamente otros componentes esenciales como la banda sonora, se abre frente a nosotros un extenso campo de recursos reiteradamente utilizado en el medio audiovisual y, sin embargo, apenas visitado por la cr\u00edtica. El sonido ejerce su capacidad de remitir a una impresi\u00f3n de lo siniestro de manera inequ\u00edvoca y en gradaci\u00f3n m\u00faltiple, participando de los principios de esta categor\u00eda est\u00e9tica. Tal funci\u00f3n la consigue tanto en conjunci\u00f3n con la imagen, actuando en forma de valor a\u00f1adido, como a trav\u00e9s de una intervenci\u00f3n independiente. Los recursos se extienden desde las combinaciones tonales y el uso de la disonancia en la m\u00fasica hasta la elecci\u00f3n en la instrumentaci\u00f3n, la voz, la generaci\u00f3n artificial de sonidos y la alteraci\u00f3n de los mismos, pasando por el aprovechamiento del fuera de campo, el contraste, el uso anemp\u00e1tico o una excepcional utilizaci\u00f3n del ruido y el silencio, entre otros aspectos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Ac\u00fasticas del miedo: lo siniestro en el cine fant\u00e1stico y de terror a trav\u00e9s de la banda sonora<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Ac\u00fasticas del miedo: lo siniestro en el cine fant\u00e1stico y de terror a trav\u00e9s de la banda sonora <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Marcos Sapr\u00f3 Babiloni <\/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 18\/10\/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>Francisco Carlos Bueno Camejo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: rom\u00ed\u00a0 De la calle de la calle <\/li>\n<li>Jos\u00e9 enrique Monterde lozoya (vocal)<\/li>\n<li>matilde Mar\u00eda Olarte mart\u00ednez (vocal)<\/li>\n<li>gloria Camarero gomez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Marcos Sapr\u00f3 Babiloni En un contexto tan amplio como el cine fant\u00e1stico y de terror es natural [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[5547,4510,956,9132],"tags":[143464,80817,99044,210874,38488,16851],"class_list":["post-104304","post","type-post","status-publish","format-standard","hentry","category-cinematografia","category-estetica-de-las-bellas-artes","category-filosofia-del-conocimiento","category-musica-y-musicologia","tag-francisco-carlos-bueno-camejo","tag-gloria-camarero-gomez","tag-jose-enrique-monterde-lozoya","tag-marcos-sapro-babiloni","tag-matilde-maria-olarte-Martinez","tag-romi-de-la-calle-de-la-calle"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/104304","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=104304"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/104304\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=104304"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=104304"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=104304"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}