{"id":115338,"date":"2014-05-03T00:00:00","date_gmt":"2014-05-03T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-construccion-del-personaje-en-el-relato-cinematografico-heroes-y-villanos\/"},"modified":"2014-05-03T00:00:00","modified_gmt":"2014-05-03T00:00:00","slug":"la-construccion-del-personaje-en-el-relato-cinematografico-heroes-y-villanos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/complutense-de-madrid\/la-construccion-del-personaje-en-el-relato-cinematografico-heroes-y-villanos\/","title":{"rendered":"La construccion del personaje en el relato cinematografico : heroes y villanos."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Francisco Jose Gil Ruiz <\/strong><\/h2>\n<p>En esta tesis se muestra una nueva forma de crear personajes en el gui\u00f3n cinematogr\u00e1fico. La clave se centrar\u00e1 en analizar los puntos comunes en la transformaci\u00f3n de conocidos h\u00e9roes y villanos de importantes pel\u00edculas estadounidenses. Para ello, antes de nada se prestar\u00e1 especial importancia a los elementos que componen la creaci\u00f3n de dichos personajes, haciendo hincapi\u00e9 en la narrativa presente en el gui\u00f3n cinematogr\u00e1fico, en los engranajes del discurso, y  en definitiva, en  la creaci\u00f3n del personaje cinematogr\u00e1fico. La postura del espectador respecto al filme se erige como factor crucial en la construcci\u00f3n de personajes, ya que la identificaci\u00f3n con los mismos se presta a la presentaci\u00f3n de un nuevo modelo al respecto, y que se entrelaza a su vez con nuevas pautas dedicadas a explicar la transformaci\u00f3n del personaje.Todo ello se encamina hacia un exhaustivo an\u00e1lisis f\u00edlmico en el que se establece la relaci\u00f3n existente en  la dicotom\u00eda entre del h\u00e9roe y el villano, y queda concretada la relaci\u00f3n entre los t\u00e9rminos \u00c2\u00bfvillano\u00c2\u00bf y \u00c2\u00bfantih\u00e9roe\u00c2\u00bf: un villano protagonista entra en la categor\u00eda de antih\u00e9roe, pero no deja de ser un villano. A lo largo del trabajo se confirman importantes claves universales acerca de la naturaleza del personaje protagonista en el cine en lo referente a su transformaci\u00f3n, ya que atraviesa por una serie de puntos clave en su camino en la historia hasta llegar al final, y resolverse como realmente son, tanto en el caso de los h\u00e9roes, como en el de los antih\u00e9roes (villanos en este caso). Los resultados ofrecen un horizonte rico en opciones a la hora de crear personajes cinematogr\u00e1ficos.Palabras clave: gui\u00f3n cinematogr\u00e1fico, guionista, personaje, h\u00e9roe, villano, metodolog\u00eda, identificaci\u00f3n, transformaci\u00f3n del personaje.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La construccion del personaje en el relato cinematografico : heroes y villanos.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La construccion del personaje en el relato cinematografico : heroes y villanos. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Francisco Jose Gil Ruiz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 05\/03\/2014<\/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 Garc\u00eda Garc\u00eda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: m. Luisa Garc\u00eda guardia <\/li>\n<li>Mar\u00eda del carmen Llorente barroso (vocal)<\/li>\n<li>inmaculada Berlanga fern\u00e1ndez (vocal)<\/li>\n<li>mario Rajas fernandez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Francisco Jose Gil Ruiz En esta tesis se muestra una nueva forma de crear personajes en el [&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":[986,1111],"tags":[7470,228217,91942,77863,201789,143259],"class_list":["post-115338","post","type-post","status-publish","format-standard","hentry","category-complutense-de-madrid","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-francisco-garcia-garcia","tag-francisco-jose-gil-ruiz","tag-inmaculada-berlanga-fernandez","tag-m-luisa-garcia-guardia","tag-maria-del-carmen-llorente-barroso","tag-mario-rajas-fernandez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115338","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=115338"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115338\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=115338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=115338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=115338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}