{"id":71048,"date":"2004-02-11T00:00:00","date_gmt":"2004-02-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/roberto-rossellini-la-ficcion-de-la-experiencia-la-triloga%c2%ada-de-la-guerra-las-tecnicas-documentales-en-la-ficcion\/"},"modified":"2004-02-11T00:00:00","modified_gmt":"2004-02-11T00:00:00","slug":"roberto-rossellini-la-ficcion-de-la-experiencia-la-triloga%c2%ada-de-la-guerra-las-tecnicas-documentales-en-la-ficcion","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/roberto-rossellini-la-ficcion-de-la-experiencia-la-triloga%c2%ada-de-la-guerra-las-tecnicas-documentales-en-la-ficcion\/","title":{"rendered":"Roberto rossellini: la ficci\u00f3n de la experiencia la trilogia de la guerra: las t\u00e9cnicas documentales en la ficci\u00f3n"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Pablo Ferrando Garcia <\/strong><\/h2>\n<p>El punto de partida del trabajo de investigaci\u00f3n es reflexionar sobre la equ\u00edvoca noci\u00f3n del referente. Existe la idea err\u00f3nea de que el realismo (fotogr\u00e1fico o cinematogr\u00e1fico) supone una expresi\u00f3n mim\u00e9tica de la realidad y ello se explica por la tendencia a olvidar el propio referente al pensar que las im\u00e1genes parecen configurarlas a modo de correlato impl\u00edcito del lenguaje. La operaci\u00f3n es esa modelizaci\u00f3n que no puede separarse de la manera en que representamos la realidad y tomamos distancia frente a los est\u00edmulos inmediatos. Esta representaci\u00f3n no es m\u00e1s que la sustituci\u00f3n del objeto real, significa evocarlo, ocupar el lugar mismo ese lugar debe cumplir una funci\u00f3n simb\u00f3lica del objeto representado. Lo importante es indicar que la cosa simbolizada no es la forma externa sino la funci\u00f3n de \u00e9sta, ocupar el lugar del referente. Se ha efectuado una transferencia del objeto real en expresi\u00f3n visual y el referente ha servido para sustituir simb\u00f3licamente a aqu\u00e9l bajo el marco de nuestra propia cultura.  en la segunda parte de la tesis desarrollo los an\u00e1lisis f\u00edlmicos de la trilog\u00eda de la guerra (roma, ciudad abierta; pais\u00ed\u00a0; alemania, a\u00f1o cero) de roberto rossellini. He puesto el acento sobre las diversas operaciones efectuadas para que el referente adquiera una funci\u00f3n simb\u00f3lica. Tales gestiones expresivas van desde los recursos narrativos hasta las diversas t\u00e9cnicas cinematogr\u00e1ficas. En las primeras he destacado la enorme similitud que guardan las estrategias empleadas por el escritor y periodista ernest hemingway (focalizaci\u00f3n externa, relato fenomenol\u00f3gico, expresi\u00f3n concisa y sencilla  pr\u00f3xima a la realidad&#8230;) Respecto a las que emplea el cineasta romano en su trilog\u00eda. Tambi\u00e9n he se\u00f1alado el empleo de los tiempos muertos como gestaci\u00f3n de la attesa o espera para producir la  emergencia de una revelaci\u00f3n canalizada al espectador en forma de experiencia vital. En cuanto a los dispositivos cinem<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Roberto rossellini: la ficci\u00f3n de la experiencia la trilogia de la guerra: las t\u00e9cnicas documentales en la ficci\u00f3n<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Roberto rossellini: la ficci\u00f3n de la experiencia la trilogia de la guerra: las t\u00e9cnicas documentales en la ficci\u00f3n <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Pablo Ferrando Garcia <\/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 02\/11\/2004<\/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>Juan  Miguel Company Ramon<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: santos Zunzunegui d\u00edez <\/li>\n<li>pilar Pedraza Martinez (vocal)<\/li>\n<li>Jos\u00e9 Luis Castro de paz (vocal)<\/li>\n<li> Marzal felici Francisco Javier (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Pablo Ferrando Garcia El punto de partida del trabajo de investigaci\u00f3n es reflexionar sobre la equ\u00edvoca noci\u00f3n [&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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