{"id":92892,"date":"2018-03-11T10:12:03","date_gmt":"2018-03-11T10:12:03","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/contrapla-amb-la-mort-imatge-i-hista%c2%b2ria-en-el-cinema-portugua%c2%a8s-contemporani\/"},"modified":"2018-03-11T10:12:03","modified_gmt":"2018-03-11T10:12:03","slug":"contrapla-amb-la-mort-imatge-i-hista%c2%b2ria-en-el-cinema-portugua%c2%a8s-contemporani","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/contrapla-amb-la-mort-imatge-i-hista%c2%b2ria-en-el-cinema-portugua%c2%a8s-contemporani\/","title":{"rendered":"Contrapl\u00c1\u00a0 amb la mort. imatge i hist\u00f3ria en el cinema portugu\u00e9s contemporani"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gl\u00f3ria Salvad\u00f3 Corretger <\/strong><\/h2>\n<p>La tesis expone que las im\u00e1genes del cine portugu\u00e9s contempor\u00e1neo muestran una fisura. Por un lado revelan las huellas de un pasado desaparecido que se reactiva (la historia) y por el otro convocan lo indeterminado, un misterio que habita m\u00e1s all\u00e1 del plano y que se cifra en el contraplano: el contraplano con la muerte. La investigaci\u00f3n parte de tres im\u00e1genes que constatan la presencia de un imaginario com\u00fan, subterr\u00e1neo y vinculado a la idea de muerte en la obra de tres cineastas portugueses de generaciones diferentes: manoel de oliveira, jo\u00ed\u00a3o c\u00e9sar monteiro y pedro costa. El trabajo pone de manifiesto que esta idea de muerte est\u00e1 relacionada con dos elementos clave para la historia, la pol\u00edtica, el arte y el pensamiento de portugal: el mar y el navegante. A partir del di\u00e1logo que se establece entre los planos que filman estos cineastas, las im\u00e1genes que pertenecen al pasado hist\u00f3rico, art\u00edstico y pol\u00edtico de portugal, y las composiciones visuales de otros universos cinematogr\u00e1ficos anteriores, se dibuja un mapa est\u00e9tico del cine portugu\u00e9s contempor\u00e1neo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Contrapl\u00c1\u00a0 amb la mort. imatge i hist\u00f3ria en el cinema portugu\u00e9s contemporani<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Contrapl\u00c1\u00a0 amb la mort. imatge i hist\u00f3ria en el cinema portugu\u00e9s contemporani <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gl\u00f3ria Salvad\u00f3 Corretger <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pompeu fabra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 21\/04\/2009<\/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>Xavier P\u00e9rez Tor\u00edo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: dom\u00e9nec Font blanch <\/li>\n<li>raffaele Pinto stanziano (vocal)<\/li>\n<li>angel Quintana morraja (vocal)<\/li>\n<li>isabel Soler quintana (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gl\u00f3ria Salvad\u00f3 Corretger La tesis expone que las im\u00e1genes del cine portugu\u00e9s contempor\u00e1neo muestran una fisura. Por [&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":[5547,10452,17906,104,18712],"tags":[41308,127668,192008,179847,128035,44277],"class_list":["post-92892","post","type-post","status-publish","format-standard","hentry","category-cinematografia","category-estetica","category-hermeneutica","category-historia","category-pompeu-fabra","tag-angel-quintana-morraja","tag-domenec-font-blanch","tag-glaria-salvado-corretger","tag-isabel-soler-quintana","tag-raffaele-pinto-stanziano","tag-xavier-perez-torio"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/92892","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=92892"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/92892\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=92892"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=92892"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=92892"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}