{"id":2843,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/estructuras-de-reconocimiento-y-serialidad-ritual-el-modelo-melodrama-en-los-films-de-david-wark-griffith\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"estructuras-de-reconocimiento-y-serialidad-ritual-el-modelo-melodrama-en-los-films-de-david-wark-griffith","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/estructuras-de-reconocimiento-y-serialidad-ritual-el-modelo-melodrama-en-los-films-de-david-wark-griffith\/","title":{"rendered":"Estructuras de reconocimiento y serialidad ritual: el modelo melodrama en los films de david wark griffith."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Marzal Felici Jos\u00e9 Javier <\/strong><\/h2>\n<p>El presente trabajo de investigacion propone analizar el melodrama cinematografico en relacion con la produccion filmica de david wark griffith entre 1918 y 1921. La parte primera aborda los problemas de orden mas teorico y epistemologico: la nocion de melodrama en su dimension diacronica (capitulo primero); un intento de caracterizacion de lo melodramatico en base a una serie de estructuras de reconocimiento -iconograficas, espaciales, actanciales, narrativas y musicales- que determinan el caracter \u00abmultidimensional\u00bb y abierto de la nocion de melodrama, tras la revision de las diferentes perspectivas de trabajo y nuestra filiacion a la escuela del analisis textual (capitulo segundo); el problema del melodrama como genero, lo que nos ha obligado a examinar la nocion de genero en cine y literatura (capitulo tercero); finalmente, el examen del lugar de d.W.  griffith en la historia del cine, y mas concretamente el estudio de los diferentes intentos de definicion de la nocion de \u00abcine clasico\u00bb de burch, bordwell y gunning (capitulo cuarto). La parte segunda es un estudio del corpus de films propuesto, con un examen de las condiciones de produccion, distribucion y exhibicion del periodo (capitulo quinto), el analisis de lo profilmico y compositivo (capitulo sexto), del montaje y los sistemas espacial y temporal (cap. Septimo) y del sistema del narrador y analisis de la musica compuesta para algunos films de griffith -al que se adjunta un compact disc, grabacion de estos temas musicales- (cap. Octavo).  finalmente, en la parte tercera ponemos en relacion el modelo melodrama con el pensamiento mitico y los mecanismos de serialidad ritual de nuestra cultura contemporanea, y con el cine de griffith y el \u00abcine de integracion narrativa\u00bb.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Estructuras de reconocimiento y serialidad ritual: el modelo melodrama en los films de david wark griffith.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Estructuras de reconocimiento y serialidad ritual: el modelo melodrama en los films de david wark griffith. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Marzal Felici Jos\u00e9 Javier <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/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> Calle De La Calle Roman De La<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jenaro Talens Carmona <\/li>\n<li>Zunzunegui Santos (vocal)<\/li>\n<li>Jes\u00fas Gonzalez Requena (vocal)<\/li>\n<li>Vicente Sanchez Viosca (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Marzal Felici Jos\u00e9 Javier El presente trabajo de investigacion propone analizar el melodrama cinematografico en relacion con [&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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