{"id":132327,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/estetica-del-hecho-cinematografico-de-henri-agel\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"estetica-del-hecho-cinematografico-de-henri-agel","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/estetica-del-hecho-cinematografico-de-henri-agel\/","title":{"rendered":"Estetica del hecho cinematografico de henri agel."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Zurian Hernandez Adelino Francisco <\/strong><\/h2>\n<p>Este trabajo se centra en la obra del teorico frances de cine henir angel, profesor de estetica del cine de la universidad paul valery (montpellier. Francia), especialmente de su aportacion estetica. A lo largo de cuatro capitulos se analizan, de forma amplia y critica, las aportaciones agelianas en esta materia: el cine autentico como un cine \u00abcon alma\u00bb, esto es, un cine autentico como un cine \u00abcon alma\u00bb, esto, un cine llamado a lo trascendente, el cine capaz de realizar una \u00abtransfiguracion\u00bb de lo real, que nos lleva a un \u00abmas alla\u00bb cargado de significaciones en una \u00absobre-realidad\u00bb caracteristica del hecho cinematografico. Esto conlleva una doble implicacion: el problema del \u00absaber hacer\u00bb del director (que incluye una teoria estetica de la creacion artistica), y el \u00absaber mirar\u00bb del espectador (teoria de la recepcion). Para abordar estos temas angel se plantea una metodolog\u00eda propia. Partiendo de sus reconocidos herencias e influencias filosoficas (como son el espiritualismo frances, especialmente a traves de maine de brian y bergson, la fenomenolog\u00eda, especialmente a traves de meleau-ponty.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Estetica del hecho cinematografico de henri agel.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Estetica del hecho cinematografico de henri agel. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Zurian Hernandez Adelino Francisco <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Navarra<\/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> Calle De La Calle Roman De La<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Luis Borobio Navarro <\/li>\n<li> Garcia Noblejas Juan  Jos\u00e9 (vocal)<\/li>\n<li>Daniel Innerarity Grau (vocal)<\/li>\n<li> Caparros Lera Jos\u00e9 Antonio (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Zurian Hernandez Adelino Francisco Este trabajo se centra en la obra del teorico frances de cine henir [&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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