{"id":26558,"date":"2018-03-09T09:18:26","date_gmt":"2018-03-09T09:18:26","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cine-vasco-en-la-bibliografa%c2%ada-cinematografica-espanola-1968-2002\/"},"modified":"2018-03-09T09:18:26","modified_gmt":"2018-03-09T09:18:26","slug":"el-cine-vasco-en-la-bibliografa%c2%ada-cinematografica-espanola-1968-2002","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/navarra\/el-cine-vasco-en-la-bibliografa%c2%ada-cinematografica-espanola-1968-2002\/","title":{"rendered":"El cine vasco en la bibliograf\u00edacinematogr\u00e1fica espa\u00f1ola (1968-2002)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Susana Torrado Morales <\/strong><\/h2>\n<p>El objeto de estudio de esta tesis consiste en recopilar fuentes de informaci\u00f3n textuales para la investigaci\u00f3n del cine vasco. Ante la falta de un trabajo anterior, la intenci\u00f3n de esta investigaci\u00f3n es crear una herramienta documental que sirva de fuente de informaci\u00f3n a los actuales y futuros investigadores de la cinematograf\u00eda vasca. En primer lugar, se defiende la creaci\u00f3n de repertorios bibliogr\u00e1ficos anal\u00edticos, como listados de obras cuya utilidad es ser el primer paso para el investigador de cualquier materia, acompa\u00f1ados de un resumen y un m\u00ednimo comentario de la obra con la m\u00e1xima objetividad de un trabajo documental, sin juicios de valor.  en segundo lugar, se define el concepto de cine vasco. La intenci\u00f3n no es detenerse s\u00f3lo en lo producido en la comunidad aut\u00f3noma vasca, sino concebir el cine vasco como aquel hecho por vascos. Se trata de reunir todo lo publicado en espa\u00f1a sobre cine vasco en el periodo 1968-2002, bajo una divisi\u00f3n seg\u00fan el tipo de documento en monograf\u00edas, obras de referencia y art\u00edculos de revista. Adem\u00e1s de esa divisi\u00f3n, el repertorio bibliogr\u00e1fico resultado de este trabajo se estructura en cinco temas: historia, protagonistas, pel\u00edculas, acontecimientos y lugares de la cinematograf\u00eda vasca.  de acuerdo con esto, el trabajo se divide en dos partes: una te\u00f3rica -cap\u00edtulos 1 y 2- donde se estudian los repertorios bibliogr\u00e1ficos dentro de la disciplina documental, para ello se define bibliograf\u00eda como ciencia y como producto, deteni\u00e9ndose en la segunda al definir los repertorios bibliogr\u00e1ficos como documentos secundarios y ver su historia y tipos. El primer cap\u00edtulo finaliza con el an\u00e1lisis de la aparici\u00f3n y evoluci\u00f3n hist\u00f3rica de las bibliograf\u00edas cinematogr\u00e1ficas en el mundo y en espa\u00f1a. En el segundo cap\u00edtulo de la parte te\u00f3rica se estudia el concepto de cine vasco en la historia y las pel\u00edculas que lo conforman.  la parte pr\u00e1ctica -cap\u00edtulos 3 y 4- se dedica<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El cine vasco en la bibliograf\u00edacinematogr\u00e1fica espa\u00f1ola (1968-2002)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El cine vasco en la bibliograf\u00edacinematogr\u00e1fica espa\u00f1ola (1968-2002) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Susana Torrado Morales <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Navarra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 29\/10\/2003<\/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>Fatima Pastor<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: josu Bilbao fullaondo <\/li>\n<li>Santiago Aurell cardona (vocal)<\/li>\n<li>bernardino Cebroam enrique (vocal)<\/li>\n<li> Bassas del rey Carlos (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Susana Torrado Morales El objeto de estudio de esta tesis consiste en recopilar fuentes de informaci\u00f3n textuales [&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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