{"id":34669,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cine-de-mario-camus-la-construccion-de-la-autoria-cinematografica-a-traves-del-analisis-filmico\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"el-cine-de-mario-camus-la-construccion-de-la-autoria-cinematografica-a-traves-del-analisis-filmico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/el-cine-de-mario-camus-la-construccion-de-la-autoria-cinematografica-a-traves-del-analisis-filmico\/","title":{"rendered":"El cine de mario camus. la construccion de la autoria cinematografica a traves del analisis filmico."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jos\u00e9 Luis Sanchez Noriega <\/strong><\/h2>\n<p>La tesis se propone elaborar un m\u00e9todo de investigaci\u00f3n para el conocimiento de un director cinematogr\u00e1fico con los requisitos necesarios para superar las arbitrariedades m\u00e1s frecuentes. La aplicaci\u00f3n de ese m\u00e9todo se realiza en la obra de mario camus (santander, 1935), uno de los cineastas menos estudiados y m\u00e1s representativos del nuevo cine espa\u00f1ol, la generaci\u00f3n formada en el iiec\/eoc que, por primera vez, accede a la industria desde una formaci\u00f3n universitaria que conlleva la consideraci\u00f3n del cine como hecho cultural y art\u00edstico. El estudio de mario camus en cuanto cineasta remite inmediatamente a la obra realizada, a la filmograf\u00eda realmente existente -y no a una parte de ella o a las intenciones o a los proyectos- por ello la presente investigaci\u00f3n abarca la filmograf\u00eda completa.  la herramienta metodol\u00f3gica empleada es el an\u00e1lisis del filme; teniendo presentes las variadas aportaciones que se han sucedido, sobre todo, desde la semiolog\u00eda francesa, hemos elaborado un modelo que, como no pod\u00eda ser de otro modo, se adapte al cineasta estudiado. La aplicaci\u00f3n de ese m\u00e9todo a la filmograf\u00eda tiene como resultado la construcci\u00f3n de la identidad autoral del cineasta, es decir, las constantes estil\u00edsticas y tem\u00e1ticas que permiten comprender el mundo del director en cuanto autor cinematogr\u00e1fico.  dada la relevancia que tienen las adaptaciones literarias en el cineasta elegido, se analiza la pr\u00e1ctica de esas adaptaciones en un apartado con cierta autonom\u00eda respecto al resto. En ese lugar se indaga en el proceso de adaptaci\u00f3n del texto literario, una de las cuestiones m\u00e1s complejas en el siempre dif\u00edcil campo de investigaci\u00f3n de las relaciones cine y literatura, con la esperanza de ofrecer un modelo te\u00f3rico-pr\u00e1ctico de an\u00e1lisis comparatista.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El cine de mario camus. la construccion de la autoria cinematografica a traves del analisis filmico.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El cine de mario camus. la construccion de la autoria cinematografica a traves del analisis filmico. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jos\u00e9 Luis Sanchez Noriega <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/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>Antonio Lara Garcia<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Gutierrez-vierna Espada Luis Angel <\/li>\n<li>Antonio Rodriguez De Las Heras P\u00e9rez (vocal)<\/li>\n<li>Jorge Urrutia Gomez (vocal)<\/li>\n<li>Domingo Jos\u00e9 Gallego Gil (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jos\u00e9 Luis Sanchez Noriega La tesis se propone elaborar un m\u00e9todo de investigaci\u00f3n para el conocimiento 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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