{"id":79627,"date":"2018-03-09T23:25:30","date_gmt":"2018-03-09T23:25:30","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/poesia-y-memoria-histoires-du-cinema-de-jean-luc-godard\/"},"modified":"2018-03-09T23:25:30","modified_gmt":"2018-03-09T23:25:30","slug":"poesia-y-memoria-histoires-du-cinema-de-jean-luc-godard","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/poesia-y-memoria-histoires-du-cinema-de-jean-luc-godard\/","title":{"rendered":"Poesia y memoria: histoire(s) du cin\u00e9ma de jean-luc godard"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Natalia Ru\u00edz Mart\u00ednez <\/strong><\/h2>\n<p>Las histoire(s) du cin\u00e9ma, realizadas en v\u00eddeo por jean-luc godard entre 1988 y 1998, constituyen no s\u00f3lo un trabajo mayor dentro de la filmograf\u00eda de su autor sino una de las obras fundamentales en el final del siglo xx. A lo largo de los ocho cap\u00edtulos que las integran, godard lleva a cabo su proyecto de elaborar una historia de las im\u00e1genes contada por las propias im\u00e1genes: en las histoire(s), godard expone su particular visi\u00f3n de qu\u00e9 fuera el cine, al mismo tiempo que muestra la historia de su siglo, estableciendo conexiones con las distintas artes y el pensamiento godard compone esta su gran obra mediante un complej\u00edsimo montaje en el que combina distintos tipos de im\u00e1genes (de cine, de archivo, de la historia del arte), palabras (los textos son en gran medida citas, ya sean literarias, filos\u00f3ficas, ect., Que aparecen tanto le\u00eddas como en forma de r\u00f3tulos que cruzan la pantalla), ruidos y m\u00fasica (que va desde piezas clave dela m\u00fasica cl\u00e1sica a canciones populares).     tal y como indica su t\u00edtulo, este estudio parte de considera las histoire(s) du cin\u00e9ma como una obra de poes\u00eda y una obra de memoria, estando ambos aspectos \u00edntimamente ligados: si estos cap\u00edtulos en v\u00eddeo han de guardar qu\u00e9 fuera la memorias del cine es precisamente por su condici\u00f3n po\u00e9tica, en tanto que obra de arte que permanecer\u00e1 a trav\u00e9s de las \u00e9pocas. A partir de esta doble consideraci\u00f3n, la tesis se organiza como un diccionario de conceptos; dichos conceptos-apartados derivan de palabras claves que se repiten a lo largo de la obra objeto de estudio. Esta organizaci\u00f3n permite contemplar las histoire(s) desde distintos \u00e1ngulos, a trav\u00e9s de los cuales se da una explicaci\u00f3n completa de la obra, de esta manera se consigue dar una lectura m\u00e1s completa de esta poli\u00e9drica obra. Los catorce apartados en que se articula la tesis son: arte (historia del), belleza, control (del universo), cr\u00edtica, historia, imagen, infancia (del arte), memoria, montaje, museo, po<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Poesia y memoria: histoire(s) du cin\u00e9ma de jean-luc godard<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Poesia y memoria: histoire(s) du cin\u00e9ma de jean-luc godard <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Natalia Ru\u00edz Mart\u00ednez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 24\/04\/2006<\/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>Santos Zunzunegui D\u00edez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: mercedes Replinger gonz\u00e1lez <\/li>\n<li>dom\u00e9nec Font blanch (vocal)<\/li>\n<li>Jos\u00e9 Luis Castro de paz (vocal)<\/li>\n<li> Plaza Santiago Francisco Javierde la (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Natalia Ru\u00edz Mart\u00ednez Las histoire(s) du cin\u00e9ma, realizadas en v\u00eddeo por jean-luc godard entre 1988 y 1998, [&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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