{"id":82559,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/adaptaciones-de-galdos-en-el-cine-espanol\/"},"modified":"2000-01-01T00:00:00","modified_gmt":"2000-01-01T00:00:00","slug":"adaptaciones-de-galdos-en-el-cine-espanol","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/adaptaciones-de-galdos-en-el-cine-espanol\/","title":{"rendered":"Adaptaciones de galdos en el cine espa\u00f1ol."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ramon Navarrete Rodriguez <\/strong><\/h2>\n<p>La presente tesis doctoral tiene por objeto de estudio las adaptaciones cinematogr\u00e1ficas realizadas en la industria espa\u00f1ola de la obra literaria de benito p\u00e9rez gald\u00f3s. El doctorando ha efectuado un estudio comparativo entre el texto literario y el texto f\u00edlmico siguiendo su desarrollo hist\u00f3rico en las diferentes etapas del cine espa\u00f1ol. Para ello ha tenido en cuenta el contexto hist\u00f3rico, social y pol\u00edtico en el que se enmarcan las distintas adaptaciones, once en total, desde la primera adaptaci\u00f3n realizada en 1925 de el abuelo, dirigida por jos\u00e9 b\u00fasch, hasta la \u00faltima, tambi\u00e9n de el abuelo, realizada por jos\u00e9 luis garci en 1999. Cada pel\u00edcula incluye los datos de su ficha t\u00e9cnica y art\u00edstica as\u00ed como otros pormenores de su realizaci\u00f3n y argumento que han podido localizarse en el archivo del ministerio de cultura, abierto a los investigadores en fecha reciente.  independientemente se ha efectuado un estudio comparativo textual de la duda, dirigida por rafael gil en 1972 y un estudio particular sobre el corpus galdosiano adaptado por luis bu\u00f1uel. En este \u00faltimo caso es preciso destacar la incorporaci\u00f3n de una pel\u00edcula dirigida por el cineasta aragon\u00e9s, viridiana (1960), que no procede directamente de un texto literario de gald\u00f3s pero que s\u00ed presenta numerosas connotaciones con el mundo literario galdosiano, al estar presente diferentes personajes y situaciones de otras novelas del escritor canario. La tesis se completa con el estudio de las obras censuradas por la administraci\u00f3n espa\u00f1ola y aquellas otras que fueron llevadas a la pantalla en el cine americano, fundamentalmente mejicano y argentino.  en los ap\u00e9ndices documentales se incorporan numerosos documentos de indudable inter\u00e9s relativos a la censura, calificaci\u00f3n del ministerio pertinente seg\u00fan las \u00e9pocas y costes econ\u00f3micos de los filmes.#<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Adaptaciones de galdos en el cine espa\u00f1ol.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Adaptaciones de galdos en el cine espa\u00f1ol. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ramon Navarrete Rodriguez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/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>Joaquin Tomas Canovas Belchi<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: cristobal Belda navarro <\/li>\n<li>Rafael Utrera macias (vocal)<\/li>\n<li>Francisco Javier Diez de revenga torres (vocal)<\/li>\n<li>Luisa Baquero ana (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ramon Navarrete Rodriguez La presente tesis doctoral tiene por objeto de estudio las adaptaciones cinematogr\u00e1ficas realizadas en [&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":[148,147,5547,8235,1111,628],"tags":[4050,8638,81071,175470,11214,175469],"class_list":["post-82559","post","type-post","status-publish","format-standard","hentry","category-analisis-literario","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-murcia","category-teoria-analisis-y-critica-de-las-bellas-artes","category-teoria-analisis-y-critica-literarios","tag-cristobal-belda-navarro","tag-francisco-javier-diez-de-revenga-torres","tag-joaquin-tomas-canovas-belchi","tag-luisa-baquero-ana","tag-rafael-utrera-macias","tag-ramon-navarrete-rodriguez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/82559","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=82559"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/82559\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=82559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=82559"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=82559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}