{"id":155175,"date":"2026-01-12T17:17:37","date_gmt":"2026-01-12T17:17:37","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-politica-administrativa-en-el-cine-espanol-y-su-vertiente-de-censura\/"},"modified":"2026-01-12T17:17:37","modified_gmt":"2026-01-12T17:17:37","slug":"la-politica-administrativa-en-el-cine-espanol-y-su-vertiente-de-censura","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-politica-administrativa-en-el-cine-espanol-y-su-vertiente-de-censura\/","title":{"rendered":"La politica administrativa en el cine espa\u00f1ol y su vertiente de censura."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Rosa A\u00f1over Diez <\/strong><\/h2>\n<p>Para la elaboracion de la tesis doctoral se ha vaciado toda la documentacion de censura cinematografica que hemos podido localizar en el archivo central de la administracion del ministerio de cultura y en el archivo general de la administracion, seccion cultura, y en presidencia del gobierno. La documentacion la hemos clasificado de acuerdo con el tema objeto de censura y cronologicamente segun su presentacion a censura previa.  al final se ha llegado a la conclusion de la relacion entre el mundo social y el cinematografico. La censura fue un instrumento de control del estado franquista para defender sus \u00abprincipios\u00bb. La defensa moral fue proporcionada por la iglesia catolica ya durante la contienda, con la carta pastoral de 1937, con el convenio iglesia-estado de 1941 y el fuero de los espa\u00f1oles de 1945. Esta vinculacion politica-religion culmino en el cine mostrando una vision peculiar de la sociedad.  en la practica, los censores en el aspecto politico suprimian los atentados contra los \u00abprincipios\u00bb del estado franquista; en lo social, intentaron y consiguieron mostrar una espa\u00f1a irreal, sin lucha de clases, sin huelgas y manifestaciones, viviendo en la opulencia; en los temas religiosos censuraban lo que atentaba contra el dogma, moral y culto de la iglesia catolica y en el ambito moral, muy relacionado con el ultimo citado, mediatizaron las relaciones amorosas, censuraron la exhibicion de escenas que pudieran despertar los instintos sexuales.  la orientacion que la censura proporciona al cine espa\u00f1ol resulto eficaz, consiguiendo coartar la libertad de expresion, llevando al autor a ejercer la autocensura, motivo por el que descartaba de antemano la posibilidad de exaltar otros principios que no fueran los del estado franquista y la moral y dogma catolico.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La politica administrativa en el cine espa\u00f1ol y su vertiente de censura.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La politica administrativa en el cine espa\u00f1ol y su vertiente de censura. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Rosa A\u00f1over Diez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1991<\/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>Angel Luis Hueso Monton<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Garcia Nieto Paris M. Carmen <\/li>\n<li>Palmira Gonz\u00e1lez L\u00f3pez (vocal)<\/li>\n<li> Barden Mu\u00f1oz Juan  Antonio (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 Rosa A\u00f1over Diez Para la elaboracion de la tesis doctoral se ha vaciado toda la documentacion de [&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":[147,5547,986,1111],"tags":[5804,269229,6389,81071,25460,269228],"class_list":["post-155175","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-complutense-de-madrid","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-angel-luis-hueso-monton","tag-barden-munoz-juan-antonio","tag-garcia-nieto-paris-m-carmen","tag-joaquin-tomas-canovas-belchi","tag-palmira-gonzalez-lopez","tag-rosa-anover-diez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/155175","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=155175"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/155175\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=155175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=155175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=155175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}