{"id":82382,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/valores-ritmicos-de-los-textos-audiovisuales-metrica-y-ritmica\/"},"modified":"2000-01-01T00:00:00","modified_gmt":"2000-01-01T00:00:00","slug":"valores-ritmicos-de-los-textos-audiovisuales-metrica-y-ritmica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/valores-ritmicos-de-los-textos-audiovisuales-metrica-y-ritmica\/","title":{"rendered":"Valores ritmicos de los textos audiovisuales: metrica y ritmica."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Aurelio Del Portillo Garc\u00eda <\/strong><\/h2>\n<p>Ante la observaci\u00f3n de acciones habituales en el ejercicio de la realizaci\u00f3n de textos audiovisuales. Sobre todo en la fase de edici\u00f3n y montaje, se plantea una interrogaci\u00f3n fundamental:  hay razones m\u00e9tricas, aritm\u00e9ticas, que inspiran y obligan la articulaci\u00f3n de los distintos elementos audiovisuales de texto o, por el contrario, el fluido r\u00edtmico de la narraci\u00f3n est\u00e1 sometido a una vivencia intuitiva del discurso que no puede ser definida por valores num\u00e9ricos?.  para abrir una posible respuesta a esta cuesti\u00f3n se realiza una selecci\u00f3n interdisciplinar de textos para la creaci\u00f3n de un marco te\u00f3rico en el que poder definir la experiencia humana del tiempo y de las proporciones temporales, la representaci\u00f3n de un orden proporcional entre diferentes recursos expresivos del arte y la comunicaci\u00f3n y la aplicaci\u00f3n de tales razones al lenguaje audiovisual.  aportamos con ello una diferenciaci\u00f3n conceptual entre m\u00e9trica y r\u00edtmica aplicable al discurso audiovisual. Relacionamos los diferentes aspectos destacados en las bases te\u00f3ricas para la observaci\u00f3n de las peculiaridades de una posible morfolog\u00eda del ritmo audiovisual.  sobre esta base se desarrolla un m\u00e9todo de an\u00e1lisis que se aplica posteriormente a un ejemplo concreto en un largometraje, midiendo las diferentes duraciones de planos y movimientos externos e internos, tanto visuales como sonoros, en una relaci\u00f3n contextualizada que pueda incluir tambi\u00e9n aspectos tem\u00e1ticos, ideol\u00f3gicos o emocionales.  sobre los resultados de este an\u00e1lisis se valoran las relaciones que se crean en un texto cinematogr\u00e1fico como referencia paradigm\u00e1tica de la argumentaci\u00f3n te\u00f3rica planteada.  queda as\u00ed de manifiesto la inexistencia de una m\u00e9trica regular para textos no sometidos a referencias externas (musicales, etc\u00e9tera). Se constata la aparici\u00f3n de diversas relaciones r\u00edtmicas en la reiteraci\u00f3n de elementos narrativos sin que se pueda hablar de<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Valores ritmicos de los textos audiovisuales: metrica y ritmica.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Valores ritmicos de los textos audiovisuales: metrica y ritmica. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Aurelio Del Portillo Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/2000<\/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>Francisco Garcia Garcia<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: arturo Colorado castellary <\/li>\n<li>Jes\u00fas Jimenez segura (vocal)<\/li>\n<li>Juan  Jos\u00e9 Perona p\u00e1ez (vocal)<\/li>\n<li>angeles Mar\u00eda Gervilla castillo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Aurelio Del Portillo Garc\u00eda Ante la observaci\u00f3n de acciones habituales en el ejercicio de la realizaci\u00f3n de [&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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