{"id":98535,"date":"2010-12-01T00:00:00","date_gmt":"2010-12-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cine-espanol-a-traves-de-sus-carteles-iconografia-y-retorica-1909-1980-historia-de-un-discurso\/"},"modified":"2010-12-01T00:00:00","modified_gmt":"2010-12-01T00:00:00","slug":"el-cine-espanol-a-traves-de-sus-carteles-iconografia-y-retorica-1909-1980-historia-de-un-discurso","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cine-espanol-a-traves-de-sus-carteles-iconografia-y-retorica-1909-1980-historia-de-un-discurso\/","title":{"rendered":"El cine espa\u00f1ol a traves de sus carteles. iconografia y retorica (1909-1980). historia de un discurso."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda  Asuncion Serrano Mora <\/strong><\/h2>\n<p>La presente tesis es un acercamiento al cartel de cine a trav\u00e9s de una recopilaci\u00f3n de ejemplares que constituyen el punto de partida para establecer una historia del cartel de cine espa\u00f1ol. El cartel cinematogr\u00e1fico en espa\u00f1a como elemento integrant e de un arte que forma parte de su patrimonio cultural y que, desgraciadamente para nuestro pa\u00eds, ha sido despreciado durante a\u00f1os. Cuando hablamos de cartel de cine espa\u00f1ol podemos distinguir dos tipos de carteles: aquellos dise\u00f1os espa\u00f1oles que rep resentan a pel\u00edculas extranjeras y que por lo tanto no tienen cabida en este trabajo, y los carteles espa\u00f1oles que anuncian las pel\u00edculas espa\u00f1olas. As\u00ed, en esta investigaci\u00f3n, peque\u00f1a exploraci\u00f3n que contribuye un poco m\u00e1s nuestro cinema, nuestra hi storia, nuestra cultura, pretendemos buscar en la memoria de nuestro cine, por medio de sus carteles, actos creativos de comunicaci\u00f3n y de conocimiento; porque como tantas veces se ha repetido: \u00c2\u00bf&#8230; Si el cine es arte, el cartel de cine ha sido a lo largo de la historia el arte de inmortalizarlo\u00c2\u00bf. Y en este cometido profundizamos en la imagen visual y en la imagen textual del cartel como elemento semi\u00f3tico, s\u00edntesis precisa, expresiva y reveladora del alma de la pel\u00edcula, adentr\u00e1ndonos en su com posici\u00f3n, como lugar de encuentro de la iconograf\u00eda y la ret\u00f3rica a trav\u00e9s de figuras que otorgan forma a las ideas.   cartel de cine \u00c2\u00bf cine espa\u00f1ol \u00c2\u00bf historia \u00c2\u00bf ret\u00f3rica \u00c2\u00bf iconograf\u00eda<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El cine espa\u00f1ol a traves de sus carteles. iconografia y retorica (1909-1980). historia de un discurso.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El cine espa\u00f1ol a traves de sus carteles. iconografia y retorica (1909-1980). historia de un discurso. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda  Asuncion Serrano Mora <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/01\/2010<\/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 Garc\u00eda Garc\u00eda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: alfonso L\u00f3pez yepes <\/li>\n<li>Antonio Cantos ceballos (vocal)<\/li>\n<li>Jos\u00e9 Alberto Garc\u00eda avil\u00e9s (vocal)<\/li>\n<li>montserrat m. Vazquez gestal (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Asuncion Serrano Mora La presente tesis es un acercamiento al cartel de cine a trav\u00e9s 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 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":[1],"tags":[41108,201472,7470,32125,201471,175290],"class_list":["post-98535","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-alfonso-lopez-yepes","tag-antonio-cantos-ceballos","tag-francisco-garcia-garcia","tag-jose-alberto-garcia-aviles","tag-maria-asuncion-serrano-mora","tag-montserrat-m-vazquez-gestal"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/98535","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=98535"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/98535\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=98535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=98535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=98535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}