{"id":114103,"date":"2018-03-11T10:41:59","date_gmt":"2018-03-11T10:41:59","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/formas-de-inmovilidad-en-la-imagen-cinematografica\/"},"modified":"2018-03-11T10:41:59","modified_gmt":"2018-03-11T10:41:59","slug":"formas-de-inmovilidad-en-la-imagen-cinematografica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/semiologia\/formas-de-inmovilidad-en-la-imagen-cinematografica\/","title":{"rendered":"Formas de inmovilidad en la imagen cinematogr\u00e1fica"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jorge Oter Gonzalez <\/strong><\/h2>\n<p>La consideraci\u00f3n extendida de que el cine es el \u00c2\u00bfarte del movimiento\u00c2\u00bf ha granjeado un aire de contradicci\u00f3n a un conjunto de im\u00e1genes que prescinden de esa caracter\u00edstica y, no obstante, forman parte de las pel\u00edculas. En el presente trabajo se emprende un acercamiento formal a la inmovilidad en y de la imagen cinematogr\u00e1fica. A partir de diversas manifestaciones de estas im\u00e1genes a lo largo de la historia del cine, se valoran sus caracter\u00edsticas particulares, su encaje en los films  ciertas relaciones con otras artes. Las formas de la inmovilidad quedan distribuidas en cuatro grupos: congelaci\u00f3n de la imagen, filmaci\u00f3n de fotograf\u00edas (u otros objetos relacionados, como pinturas), filmaci\u00f3n de un mundo inm\u00f3vil y ralent\u00ed extremo. La t\u00e9cnica por la que han sido producidas y el aspecto que demuestran en pantalla motivan determinadas relaciones, est\u00e9ticas y te\u00f3ricas, entre dichos grupos. Asimismo, siempre bajo los condicionamientos de la imagen durativa, se asocian con otras artes est\u00e1ticas (fotograf\u00eda, pintura, diapositivas\u00c2\u00bf). Las formas de la inmovilidad se ofrecen abiertas a participar en las estructuras y mecanismos de significaci\u00f3n de los muy distintos discursos en que aparecen y en los que pueden tener muy diversa presencia e importancia. Por eso se reivindican como formas f\u00edlmicas en igualdad de condiciones con la imagen en movimiento, que ser\u00eda una posibilidad del cine tanto como la inmovilidad.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Formas de inmovilidad en la imagen cinematogr\u00e1fica<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Formas de inmovilidad en la imagen cinematogr\u00e1fica <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jorge Oter Gonzalez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 26\/04\/2013<\/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>Santos Zunzunegui Diez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Antonio Mingolarra ibarzabal <\/li>\n<li>josep Mar\u00eda Catal? dom\u00e9nech (vocal)<\/li>\n<li>jenaro Talens carmona (vocal)<\/li>\n<li>Jos\u00e9 Manuel Palacio arranz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jorge Oter Gonzalez La consideraci\u00f3n extendida de que el cine es el \u00c2\u00bfarte del movimiento\u00c2\u00bf ha granjeado [&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":[5547,1014,12909,980],"tags":[4740,226325,194171,5322,43200,5038],"class_list":["post-114103","post","type-post","status-publish","format-standard","hentry","category-cinematografia","category-historia-del-arte","category-pais-vasco-euskal-herriko-unibertsitatea","category-semiologia","tag-jenaro-talens-carmona","tag-jorge-oter-gonzalez","tag-jose-antonio-mingolarra-ibarzabal","tag-jose-manuel-palacio-arranz","tag-josep-maria-catal-domenech","tag-santos-zunzunegui-diez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/114103","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=114103"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/114103\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=114103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=114103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=114103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}