{"id":6956,"date":"1995-01-01T00:00:00","date_gmt":"1995-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1995\/01\/01\/cinematografia-y-varietes-en-asturias-1896-1915\/"},"modified":"1995-01-01T00:00:00","modified_gmt":"1995-01-01T00:00:00","slug":"cinematografia-y-varietes-en-asturias-1896-1915","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/cinematografia-y-varietes-en-asturias-1896-1915\/","title":{"rendered":"Cinematografia y varietes en asturias (1896-1915)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Madrid Alvarez Juan  Carlos De La <\/strong><\/h2>\n<p>El estudio del cinematografo en espa\u00f1a se ha visto lastrado por la juventud de la cinematografia como disciplina historica, y por la intrusion de figuras diferentes al historiador que han realizado estudios exentos de todo rigor cientifico. Es necesario volver los estudios sobre cinematografo al debate general de la historia contemporanea. Esta es la primera pretension de este trabajo. Ademas se ha intentado lograr la ampliacion del objeto de estudio a las varietes; es decir a todos los espectaculos populares que acompa\u00f1aron las funciones del cinematografo primitivo antes de la primera guerra mundial, demostrando que ambas manifestaciones, cinematografo y varietes, son un mismo espectaculo.  el marco espacial, asturias entre 1896 (llegada del cinematografo lumiere en agosto) y 1915 (entrada del espectaculo en los reductos elegantes); sirve para reconstruir un fragmento desconocido de la sociedad asturiana de la epoca a traves de fuentes mayoritariamente hemerograficas.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Cinematografia y varietes en asturias (1896-1915).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Cinematografia y varietes en asturias (1896-1915). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Madrid Alvarez Juan  Carlos De La <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Oviedo<\/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>German Ramallo Asensio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Plaza Santiago Fco. JavierDe La <\/li>\n<li>Palmira Gonz\u00e1lez L\u00f3pez (vocal)<\/li>\n<li>Angel Luis Hueso Monton (vocal)<\/li>\n<li>Jorge Uria Gonzalez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Madrid Alvarez Juan Carlos De La El estudio del cinematografo en espa\u00f1a se ha visto lastrado por [&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":[147,5547,104,2563,222,8846,1111],"tags":[5804,8187,25461,25459,25460,24152],"class_list":["post-6956","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-historia","category-historia-del-arte-de-los-siglos-xix-y-xx","category-historias-especializadas","category-oviedo","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-angel-luis-hueso-monton","tag-german-ramallo-asensio","tag-jorge-uria-gonzalez","tag-madrid-alvarez-juan-carlos-de-la","tag-palmira-gonzalez-lopez","tag-plaza-santiago-fco-javierde-la"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/6956","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=6956"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/6956\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=6956"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=6956"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=6956"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}