{"id":8331,"date":"2023-10-18T14:34:29","date_gmt":"2023-10-18T17:34:29","guid":{"rendered":"https:\/\/solomonos.com\/magazine\/?page_id=8331"},"modified":"2025-11-05T12:14:47","modified_gmt":"2025-11-05T15:14:47","slug":"ensayos","status":"publish","type":"page","link":"https:\/\/solomonos.com\/magazine\/ensayos\/","title":{"rendered":"Ensayos Acad\u00e9micos"},"content":{"rendered":"[vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#dc9427″ scene_position=\u00bbcenter\u00bb mouse_sensitivity=\u00bb5″ layer_one_image=\u00bb338″ layer_one_strength=\u00bb0″ layer_two_image=\u00bb339″ layer_two_strength=\u00bb0.1″ layer_three_image=\u00bb335″ layer_three_strength=\u00bb0.15″ layer_four_image=\u00bb316″ layer_four_strength=\u00bb0.20″ layer_five_image=\u00bb317″ layer_five_strength=\u00bb0.25″ top_padding=\u00bb20″ bottom_padding=\u00bb20″ text_color=\u00bbcustom\u00bb custom_text_color=\u00bb#f4f4f4″ text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbno-extra-padding\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bbnone\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/1″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb][vc_column_text]\n

ENSAYOS ACAD\u00c9MICOS<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb mouse_sensitivity=\u00bb5″ layer_one_image=\u00bb338″ layer_one_strength=\u00bb0″ layer_two_image=\u00bb339″ layer_two_strength=\u00bb0.1″ layer_three_image=\u00bb335″ layer_three_strength=\u00bb0.15″ layer_four_image=\u00bb316″ layer_four_strength=\u00bb0.20″ layer_five_image=\u00bb317″ layer_five_strength=\u00bb0.25″ top_padding=\u00bb40″ text_color=\u00bbcustom\u00bb custom_text_color=\u00bb#f4f4f4″ text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-2-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#000000″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/1″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][image_with_animation image_url=\u00bb8341″ image_size=\u00bbfull\u00bb max_width=\u00bbcustom\u00bb animation_type=\u00bbentrance\u00bb animation=\u00bbNone\u00bb animation_movement_type=\u00bbtransform_y\u00bb hover_animation=\u00bbnone\u00bb alignment=\u00bbcenter\u00bb border_radius=\u00bbnone\u00bb box_shadow=\u00bbnone\u00bb image_loading=\u00bbdefault\u00bb max_width_custom=\u00bb400″][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb mouse_sensitivity=\u00bb5″ layer_one_image=\u00bb338″ layer_one_strength=\u00bb0″ layer_two_image=\u00bb339″ layer_two_strength=\u00bb0.1″ layer_three_image=\u00bb335″ layer_three_strength=\u00bb0.15″ layer_four_image=\u00bb316″ layer_four_strength=\u00bb0.20″ layer_five_image=\u00bb317″ layer_five_strength=\u00bb0.25″ top_padding=\u00bb20″ text_color=\u00bbcustom\u00bb custom_text_color=\u00bb#f4f4f4″ text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb class=\u00bb2025″ id=\u00bb2025″ overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-2-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#dd9529″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/1″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

2025<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

An\u00e1lisis del uso del lenguaje cinematogr\u00e1fico en la animaci\u00f3n familiar para emplear tem\u00e1ticas complejas<\/h4>\n

Noelia Espinoza D\u00edaz, Pamela Cifuentes, Ailen Burgos y Monserrat Aguilera D\u00edaz
\n2025[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2025\/An%C3%A1lisis%20del%20uso%20del%20lenguaje%20cinematigr%C3%A1fico%20en%20la%20animaci%C3%B3n%20familiar%20para%20emplear%20tem%C3%A1ticas%20complejas_Aguilera%2C%20Burgos%2C%20Cifuentes%20y%20Espinoza.pdf\u00bb][\/vc_column][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

Construcci\u00f3n visual y narrativa de fauna de fantas\u00eda en las series animadas<\/h4>\n

Giannina Curotto, Patricia Bugue\u00f1o y Pedro Opazo
\n2025[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2025\/Construcci%C3%B3n%20visual%20y%20narrativa%20de%20fauna%20de%20fantas%C3%ADa%20en%20las%20series%20animadas_Curotto%2C%20Bugue%C3%B1o%20y%20Opazo.pdf\u00bb][\/vc_column][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

El Silencio Como Recurso Narrativo en Obras de Genndy Tartakovsky<\/h4>\n

Jerem\u00edas Nathaniel Drake, Fernanda Vanessa Laine, Valentina Rivas y Daniel Vidal
\n2025[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2025\/El%20silencio%20como%20recurso%20narrativo%20en%20obras%20de%20Genndy%20Tartakovsky_Drake%2C%20Laine%2C%20Rivas%20y%20Vidal.pdf\u00bb][\/vc_column][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

El valor del horror en distintas t\u00e9cnicas de animaci\u00f3n<\/h4>\n

Alex Garcia, Fernando Jaque, Mishell Pinto y Gabriel Tapia
\n2025[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2025\/El%20valor%20del%20horror%20en%20distintas%20t%C3%A9cnicas%20de%20animaci%C3%B3n_Garc%C3%ADa%2C%20Jaque%2C%20Pinto%20y%20Tapia.pdf\u00bb][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

\u00bfInspiraci\u00f3n o apropiaci\u00f3n?
\nAn\u00e1lisis de la representaci\u00f3n de pueblos nativos americanos en la animaci\u00f3n<\/h4>\n

Constanza Ar\u00e9valo, Martina D\u00edaz, Danitza Moyano y Gabriela Villagr\u00e1n
\n2025[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2025\/Inspiraci%C3%B3n%20o%20apropiaci%C3%B3n.%20An%C3%A1lisis%20de%20la%20representaci%C3%B3n%20de%20pueblos%20nativos%20americanos%20en%20la%20animaci%C3%B3n_Ar%C3%A9valo%2C%20D%C3%ADaz%2C%20Moyano%2C%20Villagr%C3%A1n.pdf\u00bb][\/vc_column][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb css=\u00bb\u00bb text_direction=\u00bbdefault\u00bb]\n

La adaptaci\u00f3n a largometrajes animados<\/h4>\n

Steve Santib\u00e1\u00f1ez, Mart\u00edn Soto, Fabi\u00e1n Toledo y Paula V\u00e1squez
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La animaci\u00f3n h\u00edbrida como elemento narrativo para potenciar la emocionalidad de una obra<\/h4>\n

Paulina Gonz\u00e1lez Cruces, Antonia Jeldres Garc\u00eda, Valeria Vargas Zoghbi y Rolando Z\u00fa\u00f1iga Widemann
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La evoluci\u00f3n de la representaci\u00f3n de los antagonistas en la animaci\u00f3n occidental<\/h4>\n

Mat\u00edas Aravena, Felipe Cabello, Ximena Carrasco y Karla Moreno
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La evoluci\u00f3n del g\u00e9nero Mecha en la animaci\u00f3n japonesa entre la d\u00e9cada de los setenta y la d\u00e9cada del dos mil<\/h4>\n

Josefina Becker Gatica, Natalia Bustamante D\u00edaz, Constanza Panes Rojas y Alyne Ulloa Baack
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La unificaci\u00f3n de distintos estilos. Un an\u00e1lisis de Smiling Friends & The Amazing World of Gumball<\/h4>\n

Constanza Araya, Sof\u00eda Contreras, Constantino Graboloza y Mayran Jara
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Mitolog\u00edas en videojuegos RPG, el uso de la cultura como fuente de inspiraci\u00f3n para el dise\u00f1o visual y narrativo<\/h4>\n

Jos\u00e9 Carrasco, Antonia Garc\u00e9s, Loreto G\u00f3mez y Felipe San Mart\u00edn
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\u00bfMonopolio cinematogr\u00e1fico de Disney? An\u00e1lisis del impacto de las adquisiciones de Disney dentro de la industria del cine<\/h4>\n

Mauricio Acevedo, Catalina Baltazar, David Leyton y Macarena Mathias
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Narrativas ut\u00f3picas en la animaci\u00f3n: Solarpunk y la verosimilitud de los ideales.<\/h4>\n

Monserrat Abarza, Paolo Otero, Mellany Pavez y Millaray Robles
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2024<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

Al borde de la legalidad. El uso de la ia en la creaci\u00f3n de im\u00e1genes y los principales conflictos que genera usarla<\/h4>\n

Vicente Gallardo
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An\u00e1lisis de la jugabilidad, est\u00e9tica e impacto de la animaci\u00f3n 3D en los videojuegos Super Mario 64, Grand Theft Auto San Andreas y Minecraft<\/h4>\n

Franz Delgado & Ignacia Vidal
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An\u00e1lisis del manga, de Gege Akutami, Jujutsu Kaisen. \u00bfHay un cambio en la narrativa en las series del g\u00e9nero Nekketsu?<\/h4>\n

Valentina Fuentes & Darien Vargas
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An\u00e1lisis del racconto de Nico Robin en la obra de One Piece<\/h4>\n

Francisca D\u00edaz & Amanda Marull
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Antagonista, ausente o presente. El rol materno en la animaci\u00f3n<\/h4>\n

Giuliana Arrigoni, Miranda Castro & Taina Paredes
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Arte contra producto. La visi\u00f3n art\u00edstica de las pel\u00edculas animadas frente a la industria de la animaci\u00f3n<\/h4>\n

Vicente Rey & Camila Pato Torres
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Efectos Pr\u00e1cticos versus CGI. La creaci\u00f3n de criaturas y su evoluci\u00f3n de la d\u00e9cada ochenta al presente<\/h4>\n

Christian Contreras & Pablo Gajardo
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El arquetipo del Elegido en Avatar, la leyenda de Aang<\/h4>\n

Nawel Candia, Crist\u00f3bal Catal\u00e1n & Victoria Santander
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El Iyashikei. Sanando a trav\u00e9s de una obra animada<\/h4>\n

Celeste Quiroz, Carmen Romero & Mar\u00eda Antonella Traviezo
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Factores comunes del exito<\/h4>\n

Sebasti\u00e1n Melendez
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Formando nacionalistas, un cortometraje a la vez. Los cortometrajes animados en la segunda guerra mundial<\/h4>\n

Valentina Fuentes
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Interpretaciones de una f\u00f3rmula. Representaci\u00f3n de familias disfuncionales en las series de animaci\u00f3n para adultos<\/h4>\n

Tom\u00e1s Navarro, Luciano Reyes & Jos\u00e9 P\u00e9rez
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La animaci\u00f3n es para ni\u00f1os. Desmontando la infantilizaci\u00f3n de la animaci\u00f3n a trav\u00e9s de su evoluci\u00f3n<\/h4>\n

Catalina Sanzana & D\u00f3minic Bustamante
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La animaci\u00f3n Flash Web en la d\u00e9cada de los dos mil y su trascendencia<\/h4>\n

Jos\u00e9 Bello, Jorge Flores & Benjam\u00edn Monsalve
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La cultura chilena en la animaci\u00f3n nacional. Retrato de una identidad en las \u00faltimas dos d\u00e9cadas<\/h4>\n

Alejandro Flores & Isidora Salazar
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La influencia de la bomba at\u00f3mica en la animaci\u00f3n. Un estudio de la visi\u00f3n de mundo en la animaci\u00f3n estadounidense y nipona hasta ginales del SXX<\/h4>\n

Catalina Ser\u00f3n
\n2024[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/ensayos\/2024\/La%20influencia%20de%20la%20bomba%20at%C3%B3mica%20en%20la%20animaci%C3%B3n.%20Un%20estudio%20de%20la%20visi%C3%B3n%20de%20mundo%20en%20la%20animaci%C3%B3n%20estadounidense%20y%20nipona%20hasta%20ginales%20del%20SXX_Catalina%20Ser%C3%B3n.pdf\u00bb][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

La reinvenci\u00f3n del g\u00e9nero western y la reinterpretaci\u00f3n del viaje del h\u00e9roe a trav\u00e9s de la metaficci\u00f3n. Un an\u00e1lisis al filme Rango<\/h4>\n

Nikkita Alfaro, Amaro Navarrete & Francisco Vidal
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La transformaci\u00f3n visual de Gorillaz. An\u00e1lisis a la banda virtual<\/h4>\n

Constanza Arenas, Javiera Heckmann & Tania Heckmann
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Limitaciones y adaptabilidad. El impacto de decisiones estrat\u00e9gicas en cuatro producciones de animaci\u00f3n japonesa<\/h4>\n

Javiera Carrera & Jos\u00e9 Delpiano
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Representaci\u00f3n LGBTQ+ en la Animaci\u00f3n Juvenil. El efecto de los estereotipos y la censura<\/h4>\n

Mar\u00eda Espinosa, Amanda Rosset & Ver\u00f3nica Valenzuela
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Si tan solo pudieras escucharme. Examinando la representaci\u00f3n de la madre autoritaria y el funcionamiento del poder que ejerce en producciones de Disney y Pixar<\/h4>\n

Grudechut & Guti\u00e9rrez
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Storytelling a trav\u00e9s de locaciones en la animaci\u00f3n<\/h4>\n

Amaranta Huequelef & Camila Rosas
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2023<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

An\u00e1lisis de la evoluci\u00f3n de la hero\u00edna a lo largo de tres d\u00e9cadas en el g\u00e9nero Mahou Shoujo<\/h4>\n

Bruno Mu\u00f1oz y Constanza Vald\u00e9s.
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An\u00e1lisis de remakes de videojuego desde un punto de vista gr\u00e1fico<\/h4>\n

Sebasti\u00e1n Alarc\u00f3n y Miguel P\u00e1vez
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Arte conceptual en largometrajes 2D y 3D de DreamWorks<\/h4>\n

Lucas Labb\u00e9, Javier Geovani, Daniel Troncoso
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El fen\u00f3meno del \u2018valle inquietante\u2019 en el terror animado<\/h4>\n

Sophia Aguilera, Laura Comunian
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El valor del alma en el arte, Uso de Inteligencia Artificial en la animaci\u00f3n<\/h4>\n

Daniela Concha, Patricia Peralta y Dannae Veloso
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La evoluci\u00f3n del est\u00e1ndar de la est\u00e9tica visual de la animaci\u00f3n 3D en los grandes estudios cinematogr\u00e1ficos<\/h4>\n

Benjam\u00edn Alarc\u00f3n y Nicolas P\u00e9rez
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La figura femenina en las pel\u00edculas de Hayao Miyazaki<\/h4>\n

Mar\u00eda Antonia Bernal, Isadora Brante y Daniela Ortega
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La parodia y la alta cultura en tres epocas de la Animaci\u00f3n<\/h4>\n

Felipe Balbont\u00edn
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La Representaci\u00f3n del rol de la Feminidad en los Mahou Shoujos<\/h4>\n

Antonia Cort\u00e9s y Carla Inzunza
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Los Principios de Animaci\u00f3n en el videojuego de pelea Granblue Fantasy Versus<\/h4>\n

Bastian Chevesich
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Nostalgia en las obras animadas de Miyazaki Hayao en la d\u00e9cada de los dos mil<\/h4>\n

Mar\u00eda Jes\u00fas Llanos y Crist\u00f3bal Schwend
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Transici\u00f3n de medios, El caso de Chainsaw man, desde el manga de Tatsuki Fujimoto(2018) al anime de Ryuu Nakayama<\/h4>\n

Nicole S\u00e1nchez y Brandon Vel\u00e1squez
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2022<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

El rol narrativo de una coherencia est\u00e9tica dentro de una serie animada<\/h4>\n

Crist\u00f3bal Ahumada
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V\u00ednculo entre est\u00e9tica y direcci\u00f3n narrativa en la animaci\u00f3n de tres exponentes modernos<\/h4>\n

Tom\u00e1s Contreras
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An\u00e1lisis de la funci\u00f3n narrativa de la fusi\u00f3n de t\u00e9cnicas 2D y 3D<\/h4>\n

Aldo Castro y Franco Zu\u00f1iga
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Animando el miedo<\/h4>\n

Francisca Miranda
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Representaci\u00f3n LGBT+ en la serie She-Ra and the Princesses of Power<\/h4>\n

Tomi Rodr\u00edguez
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Metodolog\u00edas del proceso de storyboarding en la industria de la animaci\u00f3n<\/h4>\n

Pedro Schmidt
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El character acting en la obra de Hiroyuki Okiura<\/h4>\n

Camila Ortiz
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El impacto de las f\u00edsicas en los videojuegos<\/h4>\n

Sim\u00f3n Pozo
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Est\u00e9tica en los videojuegos de horror entre los a\u00f1os 1995 y 2021<\/h4>\n

Jaime Arias Ibarra
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Estrategias de comunicaci\u00f3n corporativas en un ambiente creativo<\/h4>\n

Pamela Hauyon
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La Rotoscopia en Chile<\/h4>\n

Mariel Gordillo
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Narraci\u00f3n versus est\u00e9tica en la producci\u00f3n de largometrajes animados<\/h4>\n

Fernanda Pi\u00f1a
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Representaci\u00f3n de las diversidades e igualdad de g\u00e9nero en series animadas preescolares<\/h4>\n

Sara Lizana
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Rol del estilo art\u00edstico en la animaci\u00f3n. El caso de Groening & Tartakovsky<\/h4>\n

Brandon Pardo
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2021<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00bbfull_width_background\u00bb full_screen_row_position=\u00bbmiddle\u00bb column_margin=\u00bbdefault\u00bb equal_height=\u00bbyes\u00bb column_direction=\u00bbdefault\u00bb column_direction_tablet=\u00bbdefault\u00bb column_direction_phone=\u00bbdefault\u00bb bg_color=\u00bb#f4f4f4″ scene_position=\u00bbcenter\u00bb top_padding=\u00bb20″ text_color=\u00bbdark\u00bb text_align=\u00bbcenter\u00bb row_border_radius=\u00bbnone\u00bb row_border_radius_applies=\u00bbbg\u00bb overflow=\u00bbvisible\u00bb overlay_strength=\u00bb0.3″ gradient_direction=\u00bbleft_to_right\u00bb shape_divider_position=\u00bbbottom\u00bb bg_image_animation=\u00bbnone\u00bb shape_type=\u00bb\u00bb gradient_type=\u00bbdefault\u00bb][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

Conocimientos previos y habilidades para la producci\u00f3n<\/h4>\n

Sof\u00eda Irene Barahona Reyes
\n2021[\/vc_column_text][divider line_type=\u00bbNo Line\u00bb custom_height=\u00bb10″][nectar_btn size=\u00bbmedium\u00bb open_new_tab=\u00bbtrue\u00bb button_style=\u00bbsee-through-2″ color_override=\u00bb#dd9529″ hover_color_override=\u00bb#dd9529″ hover_text_color_override=\u00bb#ffffff\u00bb icon_family=\u00bbnone\u00bb text=\u00bbDescargar\u00bb url=\u00bbhttps:\/\/chilemonos.cl\/tesinas\/CONOCIMIENTOS%20PREVIOS%20Y%20HABILIDADES%20PARA%20LA%20PRODUCCION_2019.pdf\u00bb][\/vc_column][vc_column column_padding=\u00bbpadding-3-percent\u00bb column_padding_tablet=\u00bbinherit\u00bb column_padding_phone=\u00bbinherit\u00bb column_padding_position=\u00bball\u00bb column_element_direction_desktop=\u00bbdefault\u00bb column_element_spacing=\u00bbdefault\u00bb desktop_text_alignment=\u00bbdefault\u00bb tablet_text_alignment=\u00bbdefault\u00bb phone_text_alignment=\u00bbdefault\u00bb background_color=\u00bb#d8d8d8″ background_color_opacity=\u00bb1″ background_hover_color_opacity=\u00bb1″ column_backdrop_filter=\u00bbnone\u00bb column_shadow=\u00bbnone\u00bb column_border_radius=\u00bb10px\u00bb column_link_target=\u00bb_self\u00bb column_position=\u00bbdefault\u00bb gradient_direction=\u00bbleft_to_right\u00bb overlay_strength=\u00bb0.3″ width=\u00bb1\/4″ tablet_width_inherit=\u00bbdefault\u00bb animation_type=\u00bbdefault\u00bb bg_image_animation=\u00bbnone\u00bb border_type=\u00bbsimple\u00bb column_border_width=\u00bbnone\u00bb column_border_style=\u00bbsolid\u00bb column_padding_type=\u00bbdefault\u00bb gradient_type=\u00bbdefault\u00bb][vc_column_text css_animation=\u00bbnone\u00bb]\n

Como conocer a tu personaje<\/h4>\n

Diego Letelier Andaur,
\nMaximiliano Trejo Albornoz
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C\u00f3mo pienso al animar<\/h4>\n

Ana\u00eds D\u00edaz
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Demo Reel.
\nForjando el curricular del animador<\/h4>\n

F\u00e9lix Salda\u00f1a
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Dibujo Observacional.
\nHerramienta para la animaci\u00f3n<\/h4>\n

Catalina Palacios
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Exponiendo problem\u00e1ticas sociales en la animaci\u00f3n<\/h4>\n

Massiel Zambrano Ruiz
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El Portafolio:
\nLa llave de todo artista para entrar al mundo profesional<\/h4>\n

Jaime Vargas Rivas
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Fundamentos t\u00e9cnicos para un dise\u00f1o de personaje consciente y eficaz<\/h4>\n

Chantal Tae Lopez
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La Historia de arte en la animaci\u00f3n<\/h4>\n

Nicol\u00e1s Sebasti\u00e1n Sulantay Dom\u00ednguez
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La Comedia En Las Series Animadas<\/h4>\n

Romina Froemel Lazo
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Narrativa Visual:
\nLayout y composici\u00f3n como un storytelling<\/h4>\n

Melissa Flores Huanchicay
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Pitch Bible de Etherland<\/h4>\n

Constanza Gonz\u00e1les y Benjam\u00edn Fern\u00e1ndez
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Proceso de creaci\u00f3n de una Biblia de Arte para proyectos de animaci\u00f3n 2D<\/h4>\n

Ainhoa D\u00edaz Ibarrondo
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Pitch Bible de Brad the bad guy<\/h4>\n

Fernanda V\u00e1squez
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