{"id":129492,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/cine-negro-y-policiaco-espanol-de-los-anos-50\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"cine-negro-y-policiaco-espanol-de-los-anos-50","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/cine-negro-y-policiaco-espanol-de-los-anos-50\/","title":{"rendered":"Cine negro y policiaco espa\u00f1ol de los a\u00f1os 50."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Elena Medina De La Vi\u00f1a <\/strong><\/h2>\n<p>La presente tesis doctoral es un estudio pormenorizado de la produccion espa\u00f1ola de cine negro y policiaco en la decada de los a\u00f1os 50.Esta investigacion se organiza en dos partes: 1 analisis del genero y de las peliculas producida en la decada mencionada, con especial interes en los distintos temas tratado, el estudio de los personajes mas caracteristicos, la especializacion en la produccion y en los autores, y el posicionamiento de la critica respecto a este genero.Todo ello nos conduce a una serie de conclusiones que confirman la existencia de una abundante produccion de cine negro y policiaco, la especializacion por parte de algunos autores y el predominio de guiones originales, una manifiesta repercusion del realismo en el genero, y la presencia de una tematica y unos rasgos propios. 2 esta segunda parte es un inventario-catalogo, ordenado cronologicamente, de todas las peliculas del genero, producidas en la decada de los a\u00f1os cincuenta, incluyendo una ficha completa de cada film y la reproduccion del programa o cartel anunciador del estreno.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Cine negro y policiaco espa\u00f1ol de los a\u00f1os 50.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Cine negro y policiaco espa\u00f1ol de los a\u00f1os 50. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Elena Medina De La Vi\u00f1a <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Oviedo<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/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>German Ramallo Asensio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Angel Luis Hueso Monton <\/li>\n<li> Sanchez Lomba Fco. Manuel (vocal)<\/li>\n<li>Javier Baron Thaidigsmann (vocal)<\/li>\n<li>Joaquin Tomas Canovas Belchi (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Elena Medina De La Vi\u00f1a La presente tesis doctoral es un estudio pormenorizado de la produccion espa\u00f1ola [&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":[147,5547,104,1014,222,8846,1111],"tags":[5804,224171,8187,56781,81071,242869],"class_list":["post-129492","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-historia","category-historia-del-arte","category-historias-especializadas","category-oviedo","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-angel-luis-hueso-monton","tag-elena-medina-de-la-vina","tag-german-ramallo-asensio","tag-javier-baron-thaidigsmann","tag-joaquin-tomas-canovas-belchi","tag-sanchez-lomba-fco-manuel"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/129492","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=129492"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/129492\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=129492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=129492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=129492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}