{"id":62032,"date":"2018-03-09T22:49:55","date_gmt":"2018-03-09T22:49:55","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/las-representaciones-de-carmen-en-el-cine-norteamericano\/"},"modified":"2018-03-09T22:49:55","modified_gmt":"2018-03-09T22:49:55","slug":"las-representaciones-de-carmen-en-el-cine-norteamericano","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/las-representaciones-de-carmen-en-el-cine-norteamericano\/","title":{"rendered":"Las representaciones de carmen en el cine norteamericano"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gloria Fern\u00e1ndez Vilches <\/strong><\/h2>\n<p>Esta tesis doctoral versa sobre las versiones del mito de carmen en el cine cl\u00e1sico norteamericano, un mito sobre la identidad espa\u00f1ola que parte de la novela de prosper m\u00e9rim\u00e9e y cuya primera reelaboraci\u00f3n significativa es la \u00f3pera de georges bizet.  en la primera parte se plantea una serie de cuestiones imprescindibles para ubicar correctamente el objeto de estudio. En el cap\u00edtulo primero se repasan aspectos de la cultura francesa decimon\u00f3nica relevantes para contextualizar la primera formulaci\u00f3n de carmen como texto literario y su posterior adaptaci\u00f3n oper\u00edstica, a saber, la mitificaci\u00f3n rom\u00e1ntica del gitano en relaci\u00f3n con la idea de bohemia, los discursos raciales en las ciencias sociales, la centralidad del arquetipo de la mujer fatal en las artes y las letras y diferentes actitudes frente a la otredad \u00e9tnica y sexual.  en el cap\u00edtulo segundo, se analiza una serie de motivos que condensan las principales cuestiones tem\u00e1ticas, narrativas e iconogr\u00e1ficas de carmen y que permiten realizar un estudio comparado entre la novela y la \u00f3pera en primer lugar y, m\u00e1s adelante, entre estas fuentes y las pel\u00edculas que las adaptaron.  el cap\u00edtulo tercero se centra en la imagen de lo espa\u00f1ol en estados unidos desde el siglo xix hasta bien entrado el siglo xx, a partir del examen de textos similares a los que se han empleado tradicionalmente para se\u00f1alar la imagen de espa\u00f1a en francia, como los libros de viajes o las creaciones pict\u00f3ricas. las dos partes restantes est\u00e1n consagradas al estudio en profundidad de las versiones de carmen en el cine cl\u00e1sico estadounidense, que son carmen (cecil b. Demille, 1915), carmen (raoul walsh, 1915), burlesque on carmen (charles chaplin, 1915), loves of carmen (raoul walsh, 1927), the loves of carmen (charles vidor, 1948) y carmen jones (otto preminger, 1954). en la parte segunda (cap\u00edtulos 4 a 7) se analiza la producci\u00f3n de los films, la imagen estelar de la actriz protagonista, su campa\u00f1a de promoci\u00f3n y<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Las representaciones de carmen en el cine norteamericano<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Las representaciones de carmen en el cine norteamericano <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gloria Fern\u00e1ndez Vilches <\/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 17\/12\/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>Vicente S\u00e1nchez Biosca<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: gonzalo Abril curto <\/li>\n<li>peter Evans (vocal)<\/li>\n<li>vicente Benet ferrando (vocal)<\/li>\n<li>carmen Manuel cuenca (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gloria Fern\u00e1ndez Vilches Esta tesis doctoral versa sobre las versiones del mito de carmen en el cine [&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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