{"id":1772,"date":"2026-02-01T09:15:54","date_gmt":"2026-02-01T08:15:54","guid":{"rendered":"https:\/\/blogs.uao.es\/publicidad-rrpp\/?p=1772"},"modified":"2026-02-01T09:23:13","modified_gmt":"2026-02-01T08:23:13","slug":"the-screen-is-the-message-posproduccion-narrativa","status":"publish","type":"post","link":"https:\/\/blogs.uao.es\/publicidad-rrpp\/2026\/02\/01\/the-screen-is-the-message-posproduccion-narrativa\/","title":{"rendered":"Profesores del departamento publican en Peter Lang"},"content":{"rendered":"<h3 style=\"text-align: justify\" data-start=\"739\" data-end=\"779\">La pantalla ya no es \u00fanicamente un soporte<\/h3>\n<p style=\"text-align: justify\" data-start=\"781\" data-end=\"1182\">Vivimos rodeados de pantallas. Pantallas de cine, de m\u00f3vil, de ordenador, de tablets, etc.. Pantallas que ya no se limitan a mostrar im\u00e1genes y que ahora <strong data-start=\"925\" data-end=\"990\">construyen sentido, imaginarios y formas de entender el mundo<\/strong>. Esta es la idea de partida de <a href=\"https:\/\/www.peterlang.com\/document\/1599223\" target=\"_blank\" rel=\"noopener\"><em data-start=\"1022\" data-end=\"1061\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">The Screen is the Message. Proposals from Art, Cinematography and Digital Post-Production<\/span><\/span><\/em><\/a>, un volumen colectivo editado por <strong data-start=\"1096\" data-end=\"1137\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Mario Mart\u00ednez<\/span><\/span><\/strong> y <strong data-start=\"1140\" data-end=\"1181\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Fran Mateu <\/span><\/span><\/strong><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">para la prestigiosa editorial <\/span><\/span><strong data-start=\"1140\" data-end=\"1181\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Peter Lang.<\/span><\/span><\/strong><\/p>\n<p style=\"text-align: justify\" data-start=\"781\" data-end=\"1182\">El libro propone una reflexi\u00f3n coral sobre el papel de la <strong data-start=\"1242\" data-end=\"1267\">posproducci\u00f3n digital<\/strong> en el arte, el cine y las narrativas audiovisuales contempor\u00e1neas. No como una fase t\u00e9cnica invisible, m\u00e1s bien como un <strong data-start=\"1384\" data-end=\"1408\">lenguaje en s\u00ed mismo<\/strong>, capaz de transformar la est\u00e9tica, la narrativa y la experiencia del espectador.<\/p>\n<h3 style=\"text-align: justify\" data-start=\"1496\" data-end=\"1552\">Cuando el medio tambi\u00e9n es el mensaje<\/h3>\n<p style=\"text-align: justify\" data-start=\"1554\" data-end=\"1903\">Tal como se plantea en la introducci\u00f3n del volumen, hoy resulta dif\u00edcil encontrar una imagen que no haya pasado por alg\u00fan tipo de <strong data-start=\"1684\" data-end=\"1731\">filtro, intervenci\u00f3n o construcci\u00f3n digital<\/strong>. Desde los grandes universos del cine comercial hasta los v\u00eddeos m\u00e1s cotidianos de redes sociales, la posproducci\u00f3n act\u00faa como un <strong data-start=\"1862\" data-end=\"1881\">tamiz constante<\/strong> que redefine lo real.<\/p>\n<p style=\"text-align: justify\" data-start=\"1905\" data-end=\"1948\">El libro identifica dos grandes tendencias:<\/p>\n<ul style=\"text-align: justify\" data-start=\"1950\" data-end=\"2122\">\n<li data-start=\"1950\" data-end=\"2036\">\n<p data-start=\"1952\" data-end=\"2036\">una posproducci\u00f3n <strong data-start=\"1970\" data-end=\"1983\">invisible<\/strong>, que se integra de forma naturalizada en la imagen<\/p>\n<\/li>\n<li data-start=\"2037\" data-end=\"2122\">\n<p data-start=\"2039\" data-end=\"2122\">y otra <strong data-start=\"2046\" data-end=\"2058\">exhibida<\/strong>, que muestra sin pudor sus costuras, sus capas y su artificio<\/p>\n<\/li>\n<\/ul>\n<p style=\"text-align: justify\" data-start=\"2124\" data-end=\"2268\">Ambas configuran lo que Lev Manovich denomin\u00f3 <em data-start=\"2170\" data-end=\"2184\">cinema-brush<\/em>: una cultura visual donde el software no solo retoca, sino que <strong data-start=\"2248\" data-end=\"2267\">pinta la imagen<\/strong>.<\/p>\n<h2 style=\"text-align: justify\" data-start=\"2275\" data-end=\"2350\"><em data-start=\"2278\" data-end=\"2295\">Attack on Titan<\/em>: mito, l\u00edmite y conocimiento en la cultura de pantalla<\/h2>\n<p style=\"text-align: justify\" data-start=\"2352\" data-end=\"2557\">Dentro de este marco general, destaca especialmente el cap\u00edtulo <strong data-start=\"2416\" data-end=\"2457\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Liminalidad y fronteras epistemol\u00f3gicas en Attack on Titan<\/span><\/span><\/strong>, firmado por los profesores del departamento de Comunicaci\u00f3n de la <a href=\"http:\/\/www.uaoceu.es\" target=\"_blank\" rel=\"noopener\">CEU UAO<\/a>: <a href=\"https:\/\/orcid.org\/0000-0003-2082-1212\" target=\"_blank\" rel=\"noopener\"><strong data-start=\"2471\" data-end=\"2512\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Alfonso Freire-S\u00e1nchez<\/span><\/span><\/strong> <\/a>y <a href=\"https:\/\/orcid.org\/0000-0001-7434-7937\" target=\"_blank\" rel=\"noopener\"><strong data-start=\"2515\" data-end=\"2556\"><span class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"><span class=\"whitespace-normal\">Swen Seebach.<\/span><\/span><\/strong><\/a><\/p>\n<p style=\"text-align: justify\" data-start=\"2559\" data-end=\"2774\">Lejos de una lectura superficial del anime, el cap\u00edtulo propone un <strong data-start=\"2626\" data-end=\"2670\">an\u00e1lisis mitoan\u00e1litico y sociol\u00f3gico<\/strong>\u00a0de <em data-start=\"2674\" data-end=\"2691\">Attack on Titan<\/em>, entendiendo la serie como un <strong data-start=\"2722\" data-end=\"2773\">mito contempor\u00e1neo construido desde la pantalla con claras reminiscencias al mito de la caverna de Plat\u00f3n o a la filosof\u00eda determinista.<\/strong><\/p>\n<figure id=\"attachment_1775\" aria-describedby=\"caption-attachment-1775\" style=\"width: 800px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1775 size-full\" src=\"https:\/\/blogs.uao.es\/publicidad-rrpp\/wp-content\/uploads\/sites\/14\/2026\/02\/Portada_The_Screen_is_the_Messagee.jpg\" alt=\"el papel de la posproducci\u00f3n digital en el arte, el cine y las narrativas audiovisuales contempor\u00e1neas.\" width=\"800\" height=\"450\" srcset=\"https:\/\/blogs.uao.es\/publicidad-rrpp\/wp-content\/uploads\/sites\/14\/2026\/02\/Portada_The_Screen_is_the_Messagee.jpg 800w, https:\/\/blogs.uao.es\/publicidad-rrpp\/wp-content\/uploads\/sites\/14\/2026\/02\/Portada_The_Screen_is_the_Messagee-480x270.jpg 480w, https:\/\/blogs.uao.es\/publicidad-rrpp\/wp-content\/uploads\/sites\/14\/2026\/02\/Portada_The_Screen_is_the_Messagee-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption id=\"caption-attachment-1775\" class=\"wp-caption-text\">Imagen de la portada del libro Screen is The Message<\/figcaption><\/figure>\n<h3 style=\"text-align: justify\" data-start=\"2781\" data-end=\"2827\">Muros, gigantes y l\u00edmites del conocimiento<\/h3>\n<p style=\"text-align: justify\" data-start=\"2829\" data-end=\"3075\">Freire-S\u00e1nchez y Seebach parten de una idea principal: los muros que estructuran el mundo de <em data-start=\"2918\" data-end=\"2935\">Attack on Titan<\/em> no tienen un mensaje arquitect\u00f3nico, por el contrario, plantean debates <strong data-start=\"2970\" data-end=\"2989\">epistemol\u00f3gicos<\/strong>. Representan los l\u00edmites de lo que una sociedad puede conocer, recordar y cuestionar.<\/p>\n<p style=\"text-align: justify\" data-start=\"3077\" data-end=\"3247\">Desde esta perspectiva, la serie articula cuatro funciones del mito de Joseph Campbell \u2014cosmol\u00f3gica, m\u00edstica, pedag\u00f3gica y sociol\u00f3gica\u2014 que permiten leer el relato como una reflexi\u00f3n sobre:<\/p>\n<ul style=\"text-align: justify\" data-start=\"3249\" data-end=\"3470\">\n<li data-start=\"3249\" data-end=\"3295\">\n<p data-start=\"3251\" data-end=\"3295\">el control de la memoria y la historia<\/p>\n<\/li>\n<li data-start=\"3296\" data-end=\"3352\">\n<p data-start=\"3298\" data-end=\"3352\">la manipulaci\u00f3n del conocimiento como forma de poder<\/p>\n<\/li>\n<li data-start=\"3353\" data-end=\"3410\">\n<p data-start=\"3355\" data-end=\"3410\">la violencia legitimada en nombre de la supervivencia<\/p>\n<\/li>\n<li data-start=\"3411\" data-end=\"3470\">\n<p data-start=\"3413\" data-end=\"3470\">la tensi\u00f3n entre libertad, sacrificio y responsabilidad<\/p>\n<\/li>\n<\/ul>\n<p style=\"text-align: justify\" data-start=\"3472\" data-end=\"3625\">La pantalla emerge, por tanto, como el <strong data-start=\"3530\" data-end=\"3569\">espacio donde se negocia el sentido<\/strong>, donde lo visible y lo invisible delimitan lo pensable.<\/p>\n<p style=\"text-align: justify\" data-start=\"3682\" data-end=\"4025\">Uno de los conceptos centrales del cap\u00edtulo es el de <strong data-start=\"3735\" data-end=\"3750\">liminalidad<\/strong>: el estado de tr\u00e1nsito, de umbral, en el que nada es estable ni definitivo. Los personajes de <em data-start=\"3845\" data-end=\"3862\">Attack on Titan<\/em> habitan constantemente ese espacio intermedio, pero tambi\u00e9n lo hace el espectador, confrontado a dilemas morales, filos\u00f3ficos y pol\u00edticos sin respuestas cerradas.<\/p>\n<p style=\"text-align: justify\" data-start=\"4027\" data-end=\"4232\">Desde esta \u00f3ptica, la serie funciona como una <strong data-start=\"4073\" data-end=\"4098\">experiencia liminoide<\/strong> propia de la cultura audiovisual contempor\u00e1nea: una narrativa que <strong data-start=\"4190\" data-end=\"4231\">incomoda, cuestiona y obliga a pensar<\/strong>.<\/p>\n<h3 style=\"text-align: justify\" data-start=\"4239\" data-end=\"4299\">\u00bfPor qu\u00e9 este libro es relevante para Publicidad y RRPP?<\/h3>\n<p style=\"text-align: justify\" data-start=\"4301\" data-end=\"4479\">Aunque el volumen se sit\u00faa en el \u00e1mbito del arte y la cultura audiovisual, sus aportaciones son especialmente valiosas para quienes estudian <a href=\"https:\/\/www.uaoceu.es\/grado-en-publicidad-y-rr-pp\" target=\"_blank\" rel=\"noopener\"><strong data-start=\"4442\" data-end=\"4478\">Publicidad y Relaciones P\u00fablicas<\/strong><\/a>:<\/p>\n<ul style=\"text-align: justify\" data-start=\"4481\" data-end=\"4722\">\n<li data-start=\"4481\" data-end=\"4564\">\n<p data-start=\"4483\" data-end=\"4564\">porque ayuda a comprender c\u00f3mo se <strong data-start=\"4517\" data-end=\"4562\">construyen imaginarios visuales complejos<\/strong><\/p>\n<\/li>\n<li data-start=\"4565\" data-end=\"4632\">\n<p data-start=\"4567\" data-end=\"4632\">porque muestra c\u00f3mo la t\u00e9cnica (posproducci\u00f3n) nunca es neutral<\/p>\n<\/li>\n<li data-start=\"4633\" data-end=\"4722\">\n<p data-start=\"4635\" data-end=\"4722\">porque conecta narrativa, est\u00e9tica y cultura con <strong data-start=\"4684\" data-end=\"4720\">procesos de persuasi\u00f3n y sentido<\/strong><\/p>\n<\/li>\n<\/ul>\n<p style=\"text-align: justify\" data-start=\"4724\" data-end=\"4897\">En un contexto donde las marcas, las instituciones y los creadores comunican a trav\u00e9s de pantallas, entender <strong data-start=\"4833\" data-end=\"4858\">c\u00f3mo la imagen piensa<\/strong> se vuelve una competencia estrat\u00e9gica.<\/p>\n<p style=\"text-align: justify\" data-start=\"3472\" data-end=\"3625\">\n","protected":false},"excerpt":{"rendered":"<p>La pantalla ya no es \u00fanicamente un soporte Vivimos rodeados de pantallas. Pantallas de cine, de m\u00f3vil, de ordenador, de tablets, etc.. Pantallas que ya&hellip;<\/p>\n","protected":false},"author":47,"featured_media":1777,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,229,10,12],"tags":[722,721],"class_list":["post-1772","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","category-ponencias","category-profesores","category-tendencias","tag-attack-on-titans","tag-screen-is-the-message"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Profesores del departamento publican en Peter Lang - Ci\u00e8ncies de la Comunicaci\u00f3: Publicitat i RR.PP.<\/title>\n<meta name=\"description\" content=\"The Screen is the Message analiza c\u00f3mo la posproducci\u00f3n y la narrativa audiovisual construyen sentido. 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