{"id":17098,"date":"2023-02-17T12:18:17","date_gmt":"2023-02-17T12:18:17","guid":{"rendered":"https:\/\/www.arovite.com\/?page_id=17098"},"modified":"2023-02-17T12:18:17","modified_gmt":"2023-02-17T12:18:17","slug":"cabeza-jose-y-montero-julio-2012","status":"publish","type":"page","link":"https:\/\/www.arovite.com\/en\/cabeza-jose-y-montero-julio-2012\/","title":{"rendered":"CABEZA, Jos\u00e9 y MONTERO, Julio (2012)"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column width=&#8221;1\/1&#8243;][vc_column_text][vc_empty_space height=&#8221;20&#8243;]<br \/>\n <strong>Referencia bibliogr\u00e1fica<\/strong><br \/>\nCABEZA, Jos\u00e9 y MONTERO, Julio (2012): \u00abEl terrorismo de ETA en el cine documental. Dos ejemplos del uso de los recursos narrativos en la representaci\u00f3n de las v\u00edctimas\u00bb, <em>Palabra Clave<\/em>, vol. 15, n\u00ba 3, pp. 461-481.<\/p>\n<p><a class=\"button blue medium \" href=\"https:\/\/dialnet.unirioja.es\/descarga\/articulo\/4190788.pdf\" target=\"_blank\" rel=\"noopener\">Consultar PDF<\/a>[vc_empty_space height=&#8221;10&#8243;]<br \/>\n<strong>Resumen<\/strong><br \/>\nEste art\u00edculo analiza la representaci\u00f3n visual de las v\u00edctimas de ETA en los documentales <em>Trece entre mil<\/em> (Arteta, 2005) y <em>La pelota vasca<\/em> (Medem, 2003). El primero hace \u00e9nfasis en el dolor de las v\u00edctimas y el segundo subraya la manipulaci\u00f3n ideol\u00f3gica de su imagen. Esta distinta caracterizaci\u00f3n asigna un rol moral y pol\u00edtico diferente a las v\u00edctimas en el proceso de desaparici\u00f3n de ETA. [vc_empty_space height=&#8221;10&#8243;]<br \/>\n<strong>Abstract<\/strong><br \/>\nThis article analyses the visual characterization of the victims of ETA in the documentaries <em>Trece entre mil<\/em> (<em>Thirteen among a thousand<\/em>) (Arteta, 2005) and (<em>La pelota vasca<\/em> (<em> The Basque ball<\/em>) (Medem, 2003). The first puts emphasis on the pain of the victims and the second underlines the ideological manipulation of their image. This diverse characterization assigns a different moral and political role to the victims during the process of extinction of ETA. [vc_empty_space height=&#8221;10&#8243;]<br \/>\n<strong>Autor<\/strong><br \/>\nJos\u00e9 Cabeza. <a title=\"Dialnet\" href=\"https:\/\/dialnet.unirioja.es\/servlet\/autor?codigo=1261068\" target=\"_blank\" rel=\"noopener\">P\u00e1gina del autor en Dialnet.<\/a><br \/>\nJulio Montero. <a title=\"Dialnet\" href=\"https:\/\/dialnet.unirioja.es\/servlet\/autor?codigo=1753076\" target=\"_blank\" rel=\"noopener\">P\u00e1gina del autor en Dialnet.<\/a><br \/>\n[vc_empty_space height=&#8221;10&#8243;]<br \/>\n<strong>Tipo de documento<\/strong><br \/>\nArt\u00edculo<br \/>\n[vc_empty_space height=&#8221;10&#8243;]<br \/>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column width=&#8221;1\/1&#8243;][vc_column_text][vc_empty_space height=&#8221;20&#8243;] Referencia bibliogr\u00e1fica CABEZA, Jos\u00e9 y MONTERO, Julio (2012): \u00abEl terrorismo de ETA en el cine documental. Dos ejemplos del uso de los recursos narrativos en la representaci\u00f3n&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"_vp_custom_popup_image":0,"_vp_format_audio_url":"","_vp_custom_thumbnail":0,"_vp_custom_thumbnail_focal_point":[],"_vp_hover_thumbnail":0,"_vp_hover_thumbnail_focal_point":[],"footnotes":""},"class_list":["post-17098","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/pages\/17098","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/comments?post=17098"}],"version-history":[{"count":1,"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/pages\/17098\/revisions"}],"predecessor-version":[{"id":17100,"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/pages\/17098\/revisions\/17100"}],"wp:attachment":[{"href":"https:\/\/www.arovite.com\/en\/wp-json\/wp\/v2\/media?parent=17098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}