{"id":99527,"date":"2010-04-03T00:00:00","date_gmt":"2010-04-03T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-expresion-corporal-en-los-cortometrajes-de-animacion-de-creacion-los-sentimientos-en-el-personaje-mudo\/"},"modified":"2010-04-03T00:00:00","modified_gmt":"2010-04-03T00:00:00","slug":"la-expresion-corporal-en-los-cortometrajes-de-animacion-de-creacion-los-sentimientos-en-el-personaje-mudo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teoria-analisis-y-critica-de-las-bellas-artes\/la-expresion-corporal-en-los-cortometrajes-de-animacion-de-creacion-los-sentimientos-en-el-personaje-mudo\/","title":{"rendered":"La expresi\u00f3n corporal en los cortometrajes de animaci\u00f3n de creaci\u00f3n. los sentimientos en el personaje mudo."},"content":{"rendered":"<h2>Tesis doctoral de <strong> M\u00aa Carmen Poveda Coscoll\u00e1 <\/strong><\/h2>\n<p>Los personajes de los films animados no s\u00f3lo se expresan con las palabras, en la mayor\u00eda de los casos utilizan el lenguaje corporal como complemento al verbal para expresar sentimientos. En este trabajo de investigaci\u00f3n nos planteamos como hip\u00f3tesis la idea de que es posible comunicar al espectador los sentimientos del personaje utilizando como principal herramienta el lenguaje corporal, sin necesidad de utilizar el verbal. Pensamos que dentro del campo de la animaci\u00f3n el personaje se comporta de manera similar al actor que trabaja dentro de una pel\u00edcula u obra de teatro manifestando con sus gestos y movimientos lo que experimenta ante cada acontecimiento. Unos y otros toman como principal referente el lenguaje corporal real y lo aplican en sus actuaciones. \tpara desarrollar esta idea nos hemos basado en el an\u00e1lisis y la comparaci\u00f3n de catorce casos de estudio donde los personajes se expresan preferentemente con gestos. Estudiamos personajes de diferentes obras con diferentes t\u00e9cnicas y con un \u00fanico animador responsable de todo su comportamiento. Esto hace que podamos establecer paralelismos y comparaciones ante la actuaci\u00f3n de varios personajes ante el mismo sentimiento. A trav\u00e9s de esta comparativa averiguaremos los recursos gr\u00e1ficos y sonoros que ha utilizado cada artista y c\u00f3mo ha sido aplicado el lenguaje corporal real. Tomaremos como principales referentes de dicho comportamiento a charles darwin y charles le brun.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La expresi\u00f3n corporal en los cortometrajes de animaci\u00f3n de creaci\u00f3n. los sentimientos en el personaje mudo.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La expresi\u00f3n corporal en los cortometrajes de animaci\u00f3n de creaci\u00f3n. los sentimientos en el personaje mudo. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 M\u00aa Carmen Poveda Coscoll\u00e1 <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 04\/03\/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>Carmen Lloret Ferr\u00e1ndiz<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: victor Gimeno baquero <\/li>\n<li>Juan  j. Gomez de la torre (vocal)<\/li>\n<li>elvira Gual almarcha (vocal)<\/li>\n<li>Carlos Plasencia climent (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de M\u00aa Carmen Poveda Coscoll\u00e1 Los personajes de los films animados no s\u00f3lo se expresan con las palabras, [&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":[5547,4100,16820,1111],"tags":[31219,31330,65216,140590,203075,203025],"class_list":["post-99527","post","type-post","status-publish","format-standard","hentry","category-cinematografia","category-dibujo-y-grabado","category-politecnica-de-valencia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-carlos-plasencia-climent","tag-carmen-lloret-ferrandiz","tag-elvira-gual-almarcha","tag-juan-j-gomez-de-la-torre","tag-ma-carmen-poveda-coscolla","tag-victor-gimeno-baquero"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/99527","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=99527"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/99527\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=99527"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=99527"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=99527"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}