{"id":60352,"date":"2007-06-09T00:00:00","date_gmt":"2007-06-09T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-representacion-cinematografica-del-regreso-el-cine-de-veteranos-como-expresion-privilegiada-del-genero-belico-el-caso-practico-de-the-best-years-or-our-lives-y-the-deer-hunter\/"},"modified":"2007-06-09T00:00:00","modified_gmt":"2007-06-09T00:00:00","slug":"la-representacion-cinematografica-del-regreso-el-cine-de-veteranos-como-expresion-privilegiada-del-genero-belico-el-caso-practico-de-the-best-years-or-our-lives-y-the-deer-hunter","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teoria-analisis-y-critica-de-las-bellas-artes\/la-representacion-cinematografica-del-regreso-el-cine-de-veteranos-como-expresion-privilegiada-del-genero-belico-el-caso-practico-de-the-best-years-or-our-lives-y-the-deer-hunter\/","title":{"rendered":"La representacion cinematografica del regreso: el cine de veteranos como expresion privilegiada del genero belico. el caso practico de the best years or our lives y the deer hunter"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Amaya Muruzabal Muruzabal <\/strong><\/h2>\n<p>Titul0: la representaci\u00f3n cinematogr\u00e1fica del regreso: el cine de veteranos como expresi\u00f3n privilegiada del g\u00e9nero b\u00e9lico. El caso practico de the best years or our lives y the deer hunter.  resumen: el objetivo de esta investigaci\u00f3n consiste en establecer las caracter\u00edsticas principales de la representaci\u00f3n cinematogr\u00e1fica del regreso, situ\u00e1ndolo en un contexto global literario y filos\u00f3fico. Para ello, se ha tomado el caso de la representaci\u00f3n del veterano de guerra en el cine de hollywood como modelo, pues facilita la acotaci\u00f3n temporal (1898-1986) y espacial (cine popular estadounidense). M\u00e1s concretamente, el estudio se ha centrado en la comparaci\u00f3n de dos filmes de regreso: los mejores a\u00f1os de nuestra vida (the best years of our lives, w. Wyler, 1946) y el cazador (the deer hunter, m. Cimino, 1978). La elecci\u00f3n de estas dos pel\u00edculas se realiz\u00f3 con el fin de -dadas unas condiciones culturales y empresariales similares- comparar qu\u00e9 aspectos de la representaci\u00f3n del regreso var\u00edan con el tiempo -el primer filme es de segunda guerra mundial, y el segundo, de vietnam-, y qu\u00e9 aspectos permanecen en ambas representaciones. No en vano, el objetivo final es comprobar cu\u00e1nto hay de cultural -y, por tanto, de variable- en la representaci\u00f3n del regreso, y en qu\u00e9 consiste su esencia -y, por tanto, permanece-.Este objetivo se plasm\u00f3 en tres cap\u00edtulos. El primero consiste en un estudio hist\u00f3rico, cinematogr\u00e1fico y cultural del cine b\u00e9lico, con el fin de ver c\u00f3mo el car\u00e1cter hist\u00f3rico de \u00e9ste influye en la representaci\u00f3n del regreso. El segundo cap\u00edtulo se centra en una descripci\u00f3n en profundidad de los elementos que caracterizan el g\u00e9nero b\u00e9lico, con el fin de estipular en qu\u00e9 medida \u00e9stos se hallan presentes en las historias de regreso. Por \u00faltimo, un tercer cap\u00edtulo activa las categor\u00edas propuestas por el primer y segundo cap\u00edtulos, y las pone en comparaci\u00f3n con la tradici\u00f3n literaria y filos\u00f3fica del regreso, con el fin de apuntar sus principales rasgos ontol\u00f3gieos<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La representacion cinematografica del regreso: el cine de veteranos como expresion privilegiada del genero belico. el caso practico de the best years or our lives y the deer hunter<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La representacion cinematografica del regreso: el cine de veteranos como expresion privilegiada del genero belico. el caso practico de the best years or our lives y the deer hunter <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Amaya Muruzabal Muruzabal <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Navarra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 06\/09\/2007<\/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>Pablo Echart Orus<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: eduardo Rodriguez merchan <\/li>\n<li>ricardo Fern\u00e1ndez romero (vocal)<\/li>\n<li>Juan  Jos\u00e9 Garc\u00eda-noblejas liniers (vocal)<\/li>\n<li>pedro Sangro colon (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Amaya Muruzabal Muruzabal Titul0: la representaci\u00f3n cinematogr\u00e1fica del regreso: el cine de veteranos como expresi\u00f3n privilegiada del 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