{"id":116172,"date":"2018-03-11T10:45:07","date_gmt":"2018-03-11T10:45:07","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/retoricas-de-la-nostalgia-imagen-propaganda-e-identidad-los-reportajes-y-documentales-del-no-do-en-la-region-de-murcia\/"},"modified":"2018-03-11T10:45:07","modified_gmt":"2018-03-11T10:45:07","slug":"retoricas-de-la-nostalgia-imagen-propaganda-e-identidad-los-reportajes-y-documentales-del-no-do-en-la-region-de-murcia","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/retoricas-de-la-nostalgia-imagen-propaganda-e-identidad-los-reportajes-y-documentales-del-no-do-en-la-region-de-murcia\/","title":{"rendered":"Ret\u00f3ricas de la nostalgia. imagen, propaganda e identidad. los reportajes y documentales del no-do en la regi\u00f3n de murcia"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda  Isabel Durante Asensio <\/strong><\/h2>\n<p>El 4 de enero de 1943 el no-do (noticiarios y documentales cinematogr\u00e1ficos) inici\u00f3 la andadura del que ser\u00eda el proyecto audiovisual m\u00e1s importante que se hab\u00eda llevado a cabo, y que no ha sido superado en espa\u00f1a hasta la fecha. Su objetivo principal fue conducir las estrategias de propaganda del r\u00e9gimen del general franco, entendiendo, como ya se hab\u00eda hecho en otros pa\u00edses, que el cine era uno de los medios m\u00e1s apropiados para los prop\u00f3sitos de difusi\u00f3n de sus ideas.\t el presente estudio surge de la necesidad de arrojar luz sobre los modos de representaci\u00f3n audiovisual en la espa\u00f1a del franquismo a trav\u00e9s de los materiales locales, concretamente de los realizados por no-do en la regi\u00f3n de murcia. De este modo, se pueden establecer los aspectos que van a configurar la iconograf\u00eda de la \u00e9poca. Estos materiales determinar\u00e1n la trascendental importancia del noticiario para los intereses ideol\u00f3gicos del general franco y de su gobierno, que desde pronto buscaron los mecanismos que permitieran controlar la informaci\u00f3n, en todos sus formatos y canales, como una clave imprescindible para dominar a la sociedad e implantar los valores que defin\u00edan su esp\u00edritu, en definitiva, para construir una identidad nacional basada en el &quot;glorioso pasado hist\u00f3rico&quot;, en la religi\u00f3n y en el esp\u00edritu militar. Esta funci\u00f3n adoctrinadora es una de las bases donde se asienta la pol\u00edtica de intervenci\u00f3n estatal que domin\u00f3 la sociedad espa\u00f1ola de posguerra. El r\u00e9gimen franquista, por tanto, emple\u00f3 el cine como instrumento fundamental de propaganda y cre\u00f3, a su gusto, un semblante de la espa\u00f1a del momento y, por supuesto, de cada una de sus regiones. En este advenimiento de la cultura de masas que fue el cine, franco encontr\u00f3 la herramienta perfecta de control de su ideario y desde pronto lo aplic\u00f3, no solo a nivel nacional sino tambi\u00e9n en lo referente al \u00e1mbito internacional.  el prop\u00f3sito central de la tesis es determinar qu\u00e9 imagen de murcia se quiso proporcionar desde la maquinaria franquista a trav\u00e9s de esta plataforma de difusi\u00f3n, avalada por la existencia de una f\u00e9rrea censura informativa, sobre todo en los primeros a\u00f1os. Esta construcci\u00f3n identitaria, basada en la tradici\u00f3n, lo religioso y lo militar fundamentalmente, sirvi\u00f3 de referencia a la hora de definir y exportar una serie de valores ligados inexorablemente a la imagen de murcia. As\u00ed, las fiestas locales celebradas en diferentes puntos de la regi\u00f3n, la semana santa y las importantes infraestructuras militares definieron la presencia murciana. No obstante, los intereses fueron cambiando a lo largo de su existencia. La preocupaci\u00f3n \u00faltima del estudio supone demostrar la transformaci\u00f3n que esta propuesta ejerci\u00f3 en la sociedad murciana y en se\u00f1alar c\u00f3mo los distintos mecanismos f\u00edlmicos empleados influenciaron en el devenir de nuestra comunidad aut\u00f3noma. La instrumentalizaci\u00f3n de la imagen, su potencial alienador, se hizo m\u00e1s que evidente durante este per\u00edodo hist\u00f3rico. \u00e9sta es una de las premisas principales que se ponen de manifiesto en la investigaci\u00f3n, donde hemos pretendido destacar los significados que subyacen detr\u00e1s de las im\u00e1genes de una sociedad en la que la visualidad se convirti\u00f3 en la transmisora de una ideolog\u00eda r\u00edgida y obstinada. el no-do es un vestigio visual irrenunciable para conocer la historia de espa\u00f1a en el siglo xx, poco dado hasta ese momento a la tradici\u00f3n documentalista, y por extensi\u00f3n a recoger los sucesos de las periferias. Por su valor estrictamente documental, estas im\u00e1genes ayudar\u00e1n a completar la visi\u00f3n hist\u00f3rica de la regi\u00f3n de murcia, sus tradiciones, su urbanismo, los acontecimiento que marcaron su devenir social, cultual y pol\u00edtico durante todo el per\u00edodo que dur\u00f3 la dictadura. Por ello pens\u00e1bamos necesario realizar un estudio que examinara las estrategias de comunicaci\u00f3n, homog\u00e9neas como comprobaremos m\u00e1s adelante, que se utilizaron en la realizaci\u00f3n de este noticiario. En este sentido, el punto fundamental de la investigaci\u00f3n es la recopilaci\u00f3n y catalogaci\u00f3n de los materiales relacionados con la regi\u00f3n de murcia; 173 noticias con una  duraci\u00f3n total de 5 horas, 12 minutos y 33 segundos, as\u00ed como el an\u00e1lisis de las im\u00e1genes que nos ofrecen y su estudio donde se han tenido en cuenta diversas disciplinas como la historia, la antropolog\u00eda o la sociolog\u00eda. De este modo, lo visual, lo ideol\u00f3gico, lo pol\u00edtico, lo tradicional, y por supuesto, lo cinematogr\u00e1fico est\u00e1n presentes en el trabajo.  on january 4, 1943 no-do (noticiarios y documentales cinematogr\u00e1ficos: news and documentary films) began the journey which would be the most important audiovisual project that had taken place, and that has not been surpassed in spain to date. Its main objective was to conduct propaganda strategies of the general franco regime, understanding, as had been already done in other countries, that film was one of the most appropriate ways to reach the purpose of disseminating their ideas. this study arises from the need to give light on ways of audiovisual representation in franco&apos;s spain through local materials, specifically those made by no-do in the region of murcia. Thus, we can set the aspects that will shape the iconography of that time. These materials determine the critical importance of the news to the ideological interests of general franco and his government, which has sought soon the mechanisms to control information, in all formats and channels, as an essential key to dominate society and implement values that defined his spirit, ultimately, to build a national identity based on the &quot;glorious passed history&quot; on religion and the military spirit. This indoctrinating function is one of the bases where the policy of state intervention that dominated postwar spanish society. The franco regime, therefore, used the film as an essential tool of propaganda and created at will, a semblance of spain at the time and, of course, in each of its regions. In the advent of mass culture that was the film industry, franco found the perfect tool for monitoring his ideology and from soon applied, not only nationally but also in relation to the international arena. the central purpose of this thesis is to determine what image of murcia wanted to provide franco&apos;s government through this platform, supported by the existence of a strong information censorship, especially in the early years. This identity construction, based on tradition, religion and military aspects essentially served as a reference for defining and export a series of inextricably values linked to the image of murcia. Thus, local celebrations held in different parts of the region, easter and military infrastructure defined murcia. However, the interests changed throughout its existence. The final concern of the study involves to demonstrate the transformation that this proposal had on murcia&apos;s society and to point out how the use of different film mechanisms influenced the future of our region. The manipulation of the image, its alienating potential became more evident during this historical period. This is one of the main premises that raises our research, where we have tried to highlight the underlying meanings behind the images of a society in which visuality became the transmitter of a rigid and stubborn ideology. the no-do is an indispensable visual vestige in order to know the history of spain in the twentieth century, bit so far given to the documentary tradition, and by extension to reflect events of the peripheries. On the strictly documentary value, these images will help to complete the historical vision of the region of murcia, its traditions, its planning, the events that marked their social, cultural and political development throughout the period that lasted dictatorship. Therefore we believe necessary to conduct a study to examine the communication strategies, heterogeneous as see later, that were used in the making of this news program. In this sense, the fundamental point of the research is the collection and cataloging of film materials related to the region of murcia; 173 news with a total duration of 5 hours, 12 minutes and 33 seconds, and the analysis of the images that they provide and their study, where we have considered various disciplines such as history, anthropology or sociology. Thus, visual, ideological, political, traditional, and of course, the film aspects are present on this research.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Ret\u00f3ricas de la nostalgia. imagen, propaganda e identidad. los reportajes y documentales del no-do en la regi\u00f3n de murcia<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Ret\u00f3ricas de la nostalgia. imagen, propaganda e identidad. los reportajes y documentales del no-do en la regi\u00f3n de murcia <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda  Isabel Durante Asensio <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 22\/07\/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>Joaquin Tomas Canovas Belchi<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: angel Luis Hueso monton <\/li>\n<li>Miguel angel Hern\u00e1ndez navarro (vocal)<\/li>\n<li>Mar\u00eda  del mar Nicolas Martinez (vocal)<\/li>\n<li>Francisco De la plaza Santiago (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Isabel Durante Asensio El 4 de enero de 1943 el no-do (noticiarios y documentales cinematogr\u00e1ficos) inici\u00f3 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