<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002024000200095</article-id>
<article-id pub-id-type="doi">10.35494/topsem.2024.2.52.868</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La semiótica del cine según Desiderio Blanco]]></article-title>
<article-title xml:lang="en"><![CDATA[The Semiotics of Cinema according to Desiderio Blanco]]></article-title>
<article-title xml:lang="fr"><![CDATA[La sémiotique du cinéma selon Desiderio Blanco]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cabrejo Cobián]]></surname>
<given-names><![CDATA[José Carlos]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Lima  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Peru</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<numero>52</numero>
<fpage>95</fpage>
<lpage>111</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002024000200095&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002024000200095&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002024000200095&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Una de las facetas más importantes en el acercamiento de Desiderio Blanco a la semiótica es la cinematográfica. Desde su paso por la crítica de cine hasta su llegada al rigor del recorrido generativo y la semiótica tensiva, Blanco desarrolló una obra, por un lado, interesada en explicar didácticamente cómo la semiótica es aplicable al análisis de las películas; por otro, orientada a comprender desde diversos ángulos la significación del cine como arte fenomenológico. Este artículo reflexiona sobre la evolución semiótica de la mirada de Desiderio hacia el llamado séptimo arte.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract One of the most important facets of Desiderio Blanco's approach to semiotics is cinematography. From his passage through film criticism to his arrival at the rigor of the generative path and tensive semiotics, Blanco developed a work, on the one hand, interested in explaining didactically how semiotics is applicable to the analysis of films; on the other hand, oriented to understand from different angles the significance of cinema as a phenomenological art. This article reflects on the semiotic evolution of Desiderio's gaze towards the so-called seventh art.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé L'une des facettes les plus importantes de l'approche sémiotique de Desiderio Blanco est la cinématographie. De son passage à la critique cinématographique jusqu'à son arrivée à la rigueur du parcours génératif et à la sémiotique tensive, Blanco a développé une &#339;uvre qui, d'une part, s'intéresse à expliquer didactiquement comment la sémiotique est applicable à l'analyse des films et, d'autre part, vise à comprendre sous différents angles la signification du cinéma en tant qu'art phénoménologique. Cet article réfléchit à l'évolution sémiotique du regard de Desiderio sur le septième art.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Desiderio Blanco]]></kwd>
<kwd lng="es"><![CDATA[semiótica del cine]]></kwd>
<kwd lng="es"><![CDATA[recorrido generativo]]></kwd>
<kwd lng="es"><![CDATA[semiótica tensiva]]></kwd>
<kwd lng="es"><![CDATA[crítica de cine]]></kwd>
<kwd lng="en"><![CDATA[Desiderio Blanco]]></kwd>
<kwd lng="en"><![CDATA[semiotics of cinema]]></kwd>
<kwd lng="en"><![CDATA[generative path]]></kwd>
<kwd lng="en"><![CDATA[tensive semiotics]]></kwd>
<kwd lng="en"><![CDATA[film criticism]]></kwd>
<kwd lng="fr"><![CDATA[Desiderio Blanco]]></kwd>
<kwd lng="fr"><![CDATA[sémiotique du cinéma]]></kwd>
<kwd lng="fr"><![CDATA[parcours génératif]]></kwd>
<kwd lng="fr"><![CDATA[sémiotique tensive]]></kwd>
<kwd lng="fr"><![CDATA[critique de cinéma]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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<year>1971</year>
<publisher-loc><![CDATA[Italia ]]></publisher-loc>
<publisher-name><![CDATA[Alta Cinematografica]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Welles]]></surname>
<given-names><![CDATA[Orson]]></given-names>
</name>
</person-group>
<source><![CDATA[Ciudadano Kane]]></source>
<year>1942</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[RKO, Mercury Theatre Productions]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wilder]]></surname>
<given-names><![CDATA[Billy]]></given-names>
</name>
</person-group>
<source><![CDATA[Una Eva y dos Adanes]]></source>
<year>1959</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[United Artists, Ashton Productions, The Mirisch Corporation]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
