{"id":117409,"date":"2018-03-11T10:46:57","date_gmt":"2018-03-11T10:46:57","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/coproduccion-y-colaboracion-cinematografica-hispano-italiana-durante-los-anos-1939-1943\/"},"modified":"2018-03-11T10:46:57","modified_gmt":"2018-03-11T10:46:57","slug":"coproduccion-y-colaboracion-cinematografica-hispano-italiana-durante-los-anos-1939-1943","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/coproduccion-y-colaboracion-cinematografica-hispano-italiana-durante-los-anos-1939-1943\/","title":{"rendered":"Coproducci\u00f3n y colaboraci\u00f3n cinematogr\u00e1fica hispano-italiana durante los a\u00f1os 1939-1943"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Felix Monguilot Benzal <\/strong><\/h2>\n<p>Resumen (en espa\u00f1ol): la presente tesis aborda la colaboraci\u00f3n cinematogr\u00e1fica que se lleva a cabo entre la italia de mussolini y la espa\u00f1a de franco, a lo largo del periodo comprendido durante los a\u00f1os 1939-1943. este trabajo cuenta con dos grandes bloques. El primero se basa en el contexto hist\u00f3rico, pol\u00edtico y cinematogr\u00e1fico en el que dicha colaboraci\u00f3n se desenvuelve. El segundo bloque ofrece un an\u00e1lisis pormenorizado de cada una de las pel\u00edculas que resultan de esta producci\u00f3n hispano-italiana.  la tesis est\u00e1 dividida en ocho cap\u00edtulos. En el primero de ellos, a modo de introducci\u00f3n, se expone el estado de la cuesti\u00f3n, revisando los estudios realizados hasta la fecha, y se plantean los aspectos metodol\u00f3gicos de la investigaci\u00f3n. El segundo apartado ofrece una visi\u00f3n general del contexto pol\u00edtico y cinematogr\u00e1fico tanto espa\u00f1ol como italiano. el tercer ep\u00edgrafe est\u00e1 dedicado a las relaciones que se despliegan a nivel internacional dentro de europa durante los a\u00f1os treinta y cuarenta. Se desarrollan conceptos como los de la autarqu\u00eda cinematogr\u00e1fica o el de la creaci\u00f3n de un cine estrictamente europeo, capaz de hacer frente a la concurrencia de la industria americana. Tambi\u00e9n se estudia el papel de aquellas manifestaciones culturales como la mostra di venezia o estructuras como la c\u00e1mara internacional de cine, las cuales fueron usadas como plataforma a la hora de alcanzar dichos fines por pa\u00edses como alemania, italia o espa\u00f1a. el cuarto cap\u00edtulo se centra \u00fanicamente en las relaciones cinematogr\u00e1ficas hispano-italianas y en \u00e9l se hace un an\u00e1lisis general de las pel\u00edculas producidas en r\u00e9gimen de colaboraci\u00f3n. Desde una perspectiva hist\u00f3rica, cultural, pol\u00edtica y econ\u00f3mica se plantea el por qu\u00e9 se realizan dichas pel\u00edculas. Adem\u00e1s, se exponen los principales objetivos, los logros y el final de esta colaboraci\u00f3n y se mencionan los numerosos intercambios que, se dieron entre t\u00e9cnicos y artistas de espa\u00f1a e italia como consecuencia de aquella. con el quinto apartado se inicia el segundo bloque dedicado a los largometrajes. Se incluye una ficha t\u00e9cnica de cada uno de ellos  y un texto dedicado al an\u00e1lisis de los mismos. Los largometrajes han sido analizados a partir de una perspectiva hist\u00f3rica que toca aspectos de tipo sociocultural, en los cuales se determinan varios de los modelos que condicionan estas pel\u00edculas, as\u00ed como las relaciones e influencias literarias o art\u00edsticas presentes en cada una de ellos. En algunas ocasiones se ha recurrido al an\u00e1lisis est\u00e9tico, pero se ha dado preferencia a la investigaci\u00f3n historiogr\u00e1fica, en base al uso de documentaci\u00f3n de archivo en su mayor parte no publicada hasta la fecha. por otro lado, la obra cinematogr\u00e1fica es estudiada en s\u00ed no s\u00f3lo como parte integrante del grupo de las coproducciones hispano-italianas, sino tambi\u00e9n bajo un punto de vista que la inserta en una l\u00ednea discursiva m\u00e1s amplia, a trav\u00e9s de la cual se la relaciona con otras similares dentro de la historia del cine espa\u00f1ol e italiano.   los \u00faltimos tres cap\u00edtulos incluyen las conclusiones, la bibliograf\u00eda examinada y un ap\u00e9ndice con im\u00e1genes y documentos que ilustran los apartados anteriores, especialmente aquellos dedicados a los largometrajes.  para la realizaci\u00f3n de este trabajo se ha consultado una amplia bibliograf\u00eda relacionada con cada uno de los temas tratados, se han examinado de forma sistem\u00e1tica numerosas publicaciones peri\u00f3dicas contempor\u00e1neas a los hechos, as\u00ed como materiales in\u00e9ditos, provenientes de archivos espa\u00f1oles, italianos  o americanos y de colecciones privadas.     abstract (in english): the thesis &quot;cinematographic coproduction and collaboration between spain and italy during the years 1939-1943&quot; examines the subject of the cooperation in the field of cinema that took place between spain and italy in the last years of mussolini&apos;s regime and the first ones of franco&apos;s dictatorship. this work is divided in two sections. The first section is based on the historical, political and cinematographic context, where collaboration between mussolini and franco developed.  The second section offers a detailed analysis of each one of the films that were a result of the above-mentioned spanish-italian cooperation. this thesis is divided in eight chapters. Chapter one introduces a review of the state of the studies made about this subject and the description of the methodological aspects followed for this research. the second chapter offers a general vision of the political and cinematographic context in spain and italy during the third and the fourth decade of the 20th century. the third chapter is dedicated to the relations that on an international level matured in europe on that period. In this sense, some specific concepts are developed, such as the cinematographic autarchy or the idea of creating a strictly european cinematography, capable of reacting against the competition of the american industry.  This chapter also studies the role of all those cultural events, like the mostra di venezia cinematographic festival and structures like the international film chamber, that were used as a platform to drive the above mentioned purposes by countries like germany, italy or spain. the fourth chapter emphasizes the spanish-italian cinematographic relations. The films produced in collaboration are here analyzed as a whole, and from a historical, cultural, political and economic perspective.  in addition, the author defines the main reasons, the achievements and the end of this collaboration, as well as mentions the numerous exchanges that took place between cinema professionals from spain and italy, as a consequence of these works. the fifth chapter opens the door of the section of work dedicated to film. Included is a technical sheet for each one of the films, and the accompanying text with an analysis of them.  the films have been examined in terms of a historical viewpoint that embrace social and cultural aspects or genre as well as the literary and artistic influences, present in each one of them in which some of the models that condition these films are determined. occasionally, the reader may note that not only are there traces of an aesthetic analysis of the film, but a historiographical perspective has been preferred, in base to the use of primary source documents not previously published. the film has been studied not just as part of the group of the spanish-italian co-productions, but, under a wider point of view in order to compare it with analogous films from the history of cinema. the last three chapters include the conclusions of the research and the consulted bibliography with an appendix of images and archival documents. for this study, a great number of monographs related to topics connected with the main subject and numerous periodicals that are contemporary to the facts had been examined in a systematic way, as well as previously unreleased materials from spanish, italian and american archives and private collections.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Coproducci\u00f3n y colaboraci\u00f3n cinematogr\u00e1fica hispano-italiana durante los a\u00f1os 1939-1943<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Coproducci\u00f3n y colaboraci\u00f3n cinematogr\u00e1fica hispano-italiana durante los a\u00f1os 1939-1943 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Felix Monguilot Benzal <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 24\/04\/2015<\/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: roman Gubern garriga-nogu\u00e9s <\/li>\n<li>Mar\u00eda  del mar Nicolas Martinez (vocal)<\/li>\n<li>Francisco De la plaza Santiago (vocal)<\/li>\n<li>Mar\u00eda  isabel Durante asensio (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Felix Monguilot Benzal Resumen (en espa\u00f1ol): la presente tesis aborda la colaboraci\u00f3n cinematogr\u00e1fica que se lleva a [&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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