{"id":5408,"date":"1995-01-01T00:00:00","date_gmt":"1995-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1995\/01\/01\/la-filmoteca-centro-de-conservacion-del-cine-el-caso-espanol\/"},"modified":"1995-01-01T00:00:00","modified_gmt":"1995-01-01T00:00:00","slug":"la-filmoteca-centro-de-conservacion-del-cine-el-caso-espanol","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-filmoteca-centro-de-conservacion-del-cine-el-caso-espanol\/","title":{"rendered":"La filmoteca, centro de conservacion del cine: el caso espa\u00f1ol"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Susana Garcia Mangas <\/strong><\/h2>\n<p>El trabajo plantea una reflexion teorica sobre el concepto de filmoteca en la actualidad. Dentro de la revision de los planteamientos museisticos, la filmoteca aparece como un organismo que busca su sentido a finales del siglo xx; frente a una concepcion de mero archivo de peliculas, el momento actual exige la integracion de elementos procedentes tanto del mundo del archivo como del mundo del museo. La doctoranda defiende la creacion de un centro de conservacion que, incorporando el cine al mundo del arte, permita la recuperacion y oferta a generaciones futuras de ese medio. La segunda parte del trabajo comprende el estudio de la historia y del organigrama actual de la filmoteca espa\u00f1ola, y se dedica especial atencion a las filmotecas que se han creado, fundamentalmente, vinculadas a las distintas comunidades autonomas.  por ultimo, se recogen los compromisos de diferentes organismos internacionales (unesco, fiaf, cee) en favor de la recuperacion cinematografica como parte integrante de la cultura de nuestro siglo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La filmoteca, centro de conservacion del cine: el caso espa\u00f1ol<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La filmoteca, centro de conservacion del cine: el caso espa\u00f1ol <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Susana Garcia Mangas <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Santiago de compostela<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1995<\/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>Angel Luis Hueso Monton<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Agust\u00edn S\u00e1nchez Vidal <\/li>\n<li>Rafael Utrera Macias (vocal)<\/li>\n<li>Casilda De Miguel (vocal)<\/li>\n<li>Angel Sicart Gimenez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Susana Garcia Mangas El trabajo plantea una reflexion teorica sobre el concepto de filmoteca en la actualidad. [&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":[147,5547,104,1014,222,977,1111],"tags":[19113,5804,21292,21291,11214,21290],"class_list":["post-5408","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-historia","category-historia-del-arte","category-historias-especializadas","category-santiago-de-compostela","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-agustin-sanchez-vidal","tag-angel-luis-hueso-monton","tag-angel-sicart-gimenez","tag-casilda-de-miguel","tag-rafael-utrera-macias","tag-susana-garcia-mangas"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/5408","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=5408"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/5408\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=5408"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=5408"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=5408"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}