{"id":32733,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/formes-del-suspens-cinematografic\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"formes-del-suspens-cinematografic","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/formes-del-suspens-cinematografic\/","title":{"rendered":"Formes del suspens cinematografic."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Xavier P\u00e9rez Tor\u00edo <\/strong><\/h2>\n<p>La tesis propone un estudio de la utilizacion del la narrativa cinematografica. Se establece una diferenciacion entre el fenomeno general de la suspension (el aplazamiento de informaciones que se da inevitablemente en toda estructura narrativa) del suspense que aparece eventualmente como exacerbacion de una duracion ante ante una resolucion inminente entre dos alternativas opuestas. Se define \u00absegmento critico\u00bb como aquel fragmento de pelicula que se localiza idealmente entre el anuncio de una resolucion deseada y la demorada visualizacion de esta, y se propone una taxonomia de los procedimientos retoricos utilizados para obtenerlo. La ejemplicacion final de los resultados de la investigacion se lleva a termino con la presentacion de un modelo de analitica que toma como motivo de estudio la pelicula de alfred hitchcock the lodger. Se demuestra a la luz de este modelo que es posible elaborar analisis textuales de de segmentos de suspense, una vez establecido el metodo para localizar segmentos criticos y determinar su adscripcion a las diversas tipolog\u00edas.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Formes del suspens cinematografic.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Formes del suspens cinematografic. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Xavier P\u00e9rez Tor\u00edo <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pompeu fabra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1997<\/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>Javier Ruiz Collantes<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Josep Gifreu Pinsach <\/li>\n<li>Enric Sulla  Alvarez (vocal)<\/li>\n<li>Jenaro Talens Carmona (vocal)<\/li>\n<li>Jos\u00e9 Luis Castro De Paz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Xavier P\u00e9rez Tor\u00edo La tesis propone un estudio de la utilizacion del la narrativa cinematografica. Se establece [&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":[147,5547,18712,1111],"tags":[80392,89902,4740,40044,41254,44277],"class_list":["post-32733","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-pompeu-fabra","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-enric-sulla-alvarez","tag-javier-ruiz-collantes","tag-jenaro-talens-carmona","tag-jose-luis-castro-de-paz","tag-josep-gifreu-pinsach","tag-xavier-perez-torio"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/32733","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=32733"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/32733\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=32733"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=32733"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=32733"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}