{"id":146410,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-paradoja-de-gow-la-crisis-de-los-modelos-de-analisis-e-interpretacion-en-la-critica-cinematografica-contemporanea-ejemplarizada-en-psycho\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"la-paradoja-de-gow-la-crisis-de-los-modelos-de-analisis-e-interpretacion-en-la-critica-cinematografica-contemporanea-ejemplarizada-en-psycho","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-paradoja-de-gow-la-crisis-de-los-modelos-de-analisis-e-interpretacion-en-la-critica-cinematografica-contemporanea-ejemplarizada-en-psycho\/","title":{"rendered":"La paradoja de gow. la crisis de los modelos de analisis e interpretacion en la critica cinematografica contemporanea ejemplarizada en \u00abpsycho\u00bb."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Fernando De Felipe Allue <\/strong><\/h2>\n<p>No entender la figura -creativa &#8211; de hitchock supone desviar su mensaje (formalizado en su obra ), malinterpretar sus ense\u00f1anzas e intenciones. Psycho ha sido convertida asi en una gangrenosa patente de corso analitica, en una perversa ejemplificacion de metodolog\u00edas y disciplinas interpretativas que abren la caja de pandora de la deriva hermetica, de la semiosis ilimitada. Distorsiones que no solo afectan al sentido (comun) de psicho; distorsiones que (de)generan en obras manieristas que no entienden ( respetan?) El referente; distorsiones que desvirtuan la figura autorial (la intentio auctoris); distorsiones que deforman al artesano hitchcock en un sinfin de imagenes espectaculares que se han ido convirtiendo en lugares comunes ( a pesar de su poco sentido comun ). Por eso apelamos a gow. Por eso nos escondemos tras la formulacion de la paradoja. Treinta a\u00f1os de escritos dogmaticos y concluyentes pueden resumirse en lugares comunes y topicos analiticos ( desacertados ). Hitchcock es un desconocido por omision.  donde radica el fallo, el problema + aparentemente metodologico &#8211; que hace que una obra tan rigurosa, concisa y cerrada como psycho genere tal cantidad de desviaciones interpretativas, y que, su autor, sea tan mal utilizado por una critica ansiosa por desvelar absurdas pulsiones que ratifiquen discursos basados en el causa-efecto entre creador\/creacion.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La paradoja de gow. la crisis de los modelos de analisis e interpretacion en la critica cinematografica contemporanea ejemplarizada en \u00abpsycho\u00bb.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La paradoja de gow. la crisis de los modelos de analisis e interpretacion en la critica cinematografica contemporanea ejemplarizada en \u00abpsycho\u00bb. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Fernando De Felipe Allue <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1994<\/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>Mar\u00eda  Dolors Tapias Gil<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco Caja L\u00f3pez <\/li>\n<li>Vicente Sanchez Biosca (vocal)<\/li>\n<li>Carles Ameller Ferretjans (vocal)<\/li>\n<li>Jes\u00fas Jimenez Segura (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Fernando De Felipe Allue No entender la figura -creativa &#8211; de hitchock supone desviar su mensaje (formalizado [&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":[951,147,5547,1111],"tags":[38389,100118,99615,5802,84529,24296],"class_list":["post-146410","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-carles-ameller-ferretjans","tag-fernando-de-felipe-allue","tag-francisco-caja-lopez","tag-jesus-jimenez-segura","tag-maria-dolors-tapias-gil","tag-vicente-sanchez-biosca"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/146410","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=146410"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/146410\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=146410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=146410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=146410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}