{"id":118162,"date":"2018-03-11T10:48:01","date_gmt":"2018-03-11T10:48:01","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-narrativa-en-la-representacion-de-los-suenos-en-el-cine-de-ficcion-estudio-diacronico\/"},"modified":"2018-03-11T10:48:01","modified_gmt":"2018-03-11T10:48:01","slug":"la-narrativa-en-la-representacion-de-los-suenos-en-el-cine-de-ficcion-estudio-diacronico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/complutense-de-madrid\/la-narrativa-en-la-representacion-de-los-suenos-en-el-cine-de-ficcion-estudio-diacronico\/","title":{"rendered":"La narrativa en la representaci\u00f3n de los sue\u00f1os en el cine de ficci\u00f3n: estudio diacr\u00f3nico"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jos\u00e9 Carlos Borrego Martin <\/strong><\/h2>\n<p>Las posibilidades creativas de la representaci\u00f3n del ensue\u00f1o en el medio cinematogr\u00e1fico resultan extensas, mediante el empleo y combinaci\u00f3n de m\u00faltiples elementos relativos tanto al plano del contenido como al plano de la expresi\u00f3n, seg\u00fan la divisi\u00f3n del relato f\u00edlmico propuesta por la narratolog\u00eda. El presente trabajo de investigaci\u00f3n trata sobre las diferentes modalidades de representaciones on\u00edricas en el cine de ficci\u00f3n, as\u00ed como de su evoluci\u00f3n a lo largo de la historia del cine desde sus comienzos hasta la primera d\u00e9cada del siglo xxi, todo ello elaborado a la luz de la narrativa audiovisual y de la narratolog\u00eda. Con ello se pretende demostrar, a trav\u00e9s de los an\u00e1lisis tanto cuantitativo como cualitativo de pel\u00edculas representativas de los primeros 115 a\u00f1os del cinemat\u00f3grafo, la existencia de una evoluci\u00f3n diacr\u00f3nica en los mencionados planos narrativos. La conclusi\u00f3n general refleja que se ha observado una gran variedad de tipos de representaciones on\u00edricas, si tenemos en cuenta los elementos pertinentes de espacios, tiempos, personajes y acciones. \u00e9stas oscilan entre aquellas cuyos elementos de la historia recuerdan enormemente a la representaci\u00f3n de la vigilia f\u00edlmica de cada pel\u00edcula, y entre aquellas otras en las que algunos de esos elementos (cuando no todos) son empleados de forma espec\u00edfica dentro de cada film en la representaci\u00f3n de lo on\u00edrico. En cuanto al discurso, los c\u00f3digos tambi\u00e9n pueden ayudar a diferenciar o no el sue\u00f1o de la vigilia dentro de la di\u00e9gesis de cada film, lo que puede servir para indicar abiertamente al espectador que lo que est\u00e1 viendo y oyendo es un ensue\u00f1o, o para hacerle dudar del estatus de las im\u00e1genes<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La narrativa en la representaci\u00f3n de los sue\u00f1os en el cine de ficci\u00f3n: estudio diacr\u00f3nico<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La narrativa en la representaci\u00f3n de los sue\u00f1os en el cine de ficci\u00f3n: estudio diacr\u00f3nico <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jos\u00e9 Carlos Borrego Martin <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/10\/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>Francisco Garc\u00eda Garc\u00eda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: concepcion Calvo herrera <\/li>\n<li>M\u00aa Jes\u00fas Rosado millan (vocal)<\/li>\n<li>Fernando Marugan solis (vocal)<\/li>\n<li>laura Fern\u00e1ndez ram\u00edrez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jos\u00e9 Carlos Borrego Martin Las posibilidades creativas de la representaci\u00f3n del ensue\u00f1o en el medio cinematogr\u00e1fico resultan [&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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