{"id":9950,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1996\/01\/01\/la-mirada-en-el-temps-la-representacio-cinematografica-de-la-passio\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"la-mirada-en-el-temps-la-representacio-cinematografica-de-la-passio","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-mirada-en-el-temps-la-representacio-cinematografica-de-la-passio\/","title":{"rendered":"La mirada en el temps. la representacio cinematografica de la passio."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Nuria Bou Sala <\/strong><\/h2>\n<p>El objetivo de la presente tesis ha sido demostrar que el cine de m. Antonioni intento constituirse a traves de una modificacion de uno de los elementos clave sobre el que se sustentaba la narrativa cinematografica clasica, a saber la dimension sentimental sobre la cual se articulaban las historias narradas por d.W.Griffith. Se ha tratado de estudiar y sistematizar de que manera el clasicismo cinematografico vectorializo la representacion de la pasion como categoria vertebradora del relato, y de que forma el cine de antonioni necesito, al constituirse como alternativa al clasicismo, destruir o cuestionar la importancia de este hecho pasional como elemento constitutivo del espectaculo. Se concluye finalmente postulando la permanencia de un cierto clasicismo en su interior, precisamente porque no pudo desterrar del todo el elemento pasional que, aun a traves de un proposito de inversion o cuestionamiento, vehicula por esencia la ficcion cinematografica.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La mirada en el temps. la representacio cinematografica de la passio.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La mirada en el temps. la representacio cinematografica de la passio. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Nuria Bou Sala <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/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> Puig Domenech Forcada Helena<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Sebastia Serrano Farrera <\/li>\n<li>Jos\u00e9 Alejandro Montiel Mues (vocal)<\/li>\n<li>Jordi Pericot Canaleta (vocal)<\/li>\n<li>Juan  Miguel Company Ramon (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Nuria Bou Sala El objetivo de la presente tesis ha sido demostrar que el cine de m. [&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":[951,147,5547,1111],"tags":[26198,16967,12288,33656,33559,19172],"class_list":["post-9950","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-ciencias-de-las-artes-y-las-letras","category-cinematografia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-jordi-pericot-canaleta","tag-jose-alejandro-montiel-mues","tag-juan-miguel-company-ramon","tag-nuria-bou-sala","tag-puig-domenech-forcada-helena","tag-sebastia-serrano-farrera"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/9950","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=9950"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/9950\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=9950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=9950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=9950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}