{"id":89257,"date":"2001-12-03T00:00:00","date_gmt":"2001-12-03T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-realismo-cinematografico-espanol-1951-1961\/"},"modified":"2001-12-03T00:00:00","modified_gmt":"2001-12-03T00:00:00","slug":"el-realismo-cinematografico-espanol-1951-1961","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-realismo-cinematografico-espanol-1951-1961\/","title":{"rendered":"El realismo cinematografico espa\u00f1ol (1951-1961)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Guillermo Catalan Muedra <\/strong><\/h2>\n<p>Una investigaci\u00f3n sobre la estilistica y el ideario del realismo en el cine espa\u00f1ol, como parte del ciclo realista de la cultura espa\u00f1ola de los a\u00f1os 50. Se estudian con mayor relieve \u00absurcos\u00bb (nieves conde, 1951), \u00abbienvenido, mr.Marshall\u00bb(berlanga, 1952), \u00abmuerte de un ciclista\u00bb (bardem,1955), peliculas que conforman el surgimiento del realismo y una vuelta sobre el melodrama, el sainete y el drama de conciencia. La etapa de innovaciones esta formada por el humor negro de azcona y ferreri, en \u00abel pisito\u00bb(1958) y \u00abel cochecito\u00bb(1960), la culminacion del realismo social y el influjo primerizo de la \u00abnouvelle vague\u00bb en \u00ablos golfos\u00bb(1960), y por la vuelta sobre el surrealismo y el trabajo metaforico en \u00abviridiana\u00bb(1961). Con posterioridad, las principales peliculas del naciente nuevo cine espa\u00f1ol siguieron el realismo y en la senda trazada por estas peliculas, pero sin introducir nuevos valores estilisticos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El realismo cinematografico espa\u00f1ol (1951-1961)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El realismo cinematografico espa\u00f1ol (1951-1961) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Guillermo Catalan Muedra <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/03\/2001<\/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>Palmira Gonz\u00e1lez L\u00f3pez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: miquel Porter moix <\/li>\n<li>angel Luis Hueso monton (vocal)<\/li>\n<li>joaquim Molas batllori (vocal)<\/li>\n<li> Plaza Santiago Francisco j. (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Guillermo Catalan Muedra Una investigaci\u00f3n sobre la estilistica y el ideario del realismo en el cine espa\u00f1ol, [&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":[951,147,5547,4510,104,1014,222,1111],"tags":[5804,185821,33896,34091,25460,185822],"class_list":["post-89257","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-estetica-de-las-bellas-artes","category-historia","category-historia-del-arte","category-historias-especializadas","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-angel-luis-hueso-monton","tag-guillermo-catalan-muedra","tag-joaquim-molas-batllori","tag-miquel-porter-moix","tag-palmira-gonzalez-lopez","tag-plaza-santiago-francisco-j"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/89257","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=89257"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/89257\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=89257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=89257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=89257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}