{"id":28067,"date":"2004-03-01T00:00:00","date_gmt":"2004-03-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cuerpo-y-el-comico-el-caso-de-chaplin-y-keaton-en-la-quimera-del-oro-y-el-maquinista-de-la-general\/"},"modified":"2004-03-01T00:00:00","modified_gmt":"2004-03-01T00:00:00","slug":"el-cuerpo-y-el-comico-el-caso-de-chaplin-y-keaton-en-la-quimera-del-oro-y-el-maquinista-de-la-general","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/politecnica-de-valencia\/el-cuerpo-y-el-comico-el-caso-de-chaplin-y-keaton-en-la-quimera-del-oro-y-el-maquinista-de-la-general\/","title":{"rendered":"El cuerpo y el c\u00f3mico: el caso de chaplin y keaton en la quimera del oro y el maquinista de la general"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jos\u00e9 Pav\u00eda Cogollos <\/strong><\/h2>\n<p>Desde los inicios del cine como medio el cuerpo ha sido unainagotable fuente de inspiraci\u00f3n para los laughmakers. La gran mayor\u00eda de los comediante que fueron reclutados por el nuevo medio tuvieron un largo aprendizaje en otro tipo de espect\u00e1culos en los que su cuerpo era su herramienta c\u00f3mica. con este background, los reci\u00e9n llegados establecieron la comedian comedy como uno de los g\u00e9neros de mayor importancia en el cual exhibir\u00edan sus habilidades f\u00edsicas con las que labraron su fama. Dentro de este marco, examinaremos el caso chaplin y keaton, centr\u00e1ndonos en dos pel\u00edculas, la quimera del oro y el maquinista de la general.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El cuerpo y el c\u00f3mico: el caso de chaplin y keaton en la quimera del oro y el maquinista de la general<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El cuerpo y el c\u00f3mico: el caso de chaplin y keaton en la quimera del oro y el maquinista de la general <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jos\u00e9 Pav\u00eda Cogollos <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 03\/01\/2004<\/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>Fernando Javier Canet Centellas<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Mar\u00eda  de los desamparados Carbonell tatay <\/li>\n<li>Jos\u00e9 alejandro Montiel mues (vocal)<\/li>\n<li>Luis Codina bonilla (vocal)<\/li>\n<li>Javier Marzal felici (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jos\u00e9 Pav\u00eda Cogollos Desde los inicios del cine como medio el cuerpo ha sido unainagotable fuente 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 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