Auswahl der wissenschaftlichen Literatur zum Thema „Cine sonoro“
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Zeitschriftenartikel zum Thema "Cine sonoro"
Duarte Loza, Andrés. „Soundscapes narrativos en el cine: tres bandas sonoras de Tōru Takemitsu (1962-1966)“. Revista Música 21, Nr. 1 (27.07.2021): 131–204. http://dx.doi.org/10.11606/rm.v21i1.188829.
Der volle Inhalt der QuelleMedina Ávila, Virginia, und Berenice Ponce Capdeville. „La voz de Dios: características en el cine de Hollywood“. Anuario electrónico de estudios en Comunicación Social "Disertaciones" 12, Nr. 2 (20.07.2019): 179. http://dx.doi.org/10.12804/revistas.urosario.edu.co/disertaciones/a.6407.
Der volle Inhalt der QuelleDiez Puertas, Emeterio. „El cine y los escritores: una encuesta de los años 30“. Anales de Literatura Española, Nr. 39 (12.06.2023): 25–52. http://dx.doi.org/10.14198/aleua.24900.
Der volle Inhalt der QuelleAyala, Matías. „Voces y hablas en el cine durante la Unidad Popular“. Comunicación y Medios 32, Nr. 47 (30.06.2023): 65–76. http://dx.doi.org/10.5354/0719-1529.2023.68206.
Der volle Inhalt der QuelleArmell Femenía, Montserrat, und Antonio Ezquerro Esteban. „Música e imágenes hasta la llegada del cine. (Linterna mágica, armónica de cristal, fantasmagorías y teatro de sombras)“. Anuario Musical, Nr. 58 (30.12.2003): 279. http://dx.doi.org/10.3989/anuariomusical.2003.58.77.
Der volle Inhalt der QuelleAlarcón, María Julia. „Cecilia Nuria Gil Mariño, Negocios de cine. Circuitos del entretenimiento, diplomacia cultural y Nación en los inicios del sonoro en Argentina y Brasil“. Prismas - Revista de historia intelectual 24, Nr. 1 (01.06.2020): 326–28. http://dx.doi.org/10.48160/18520499prismas24.1151.
Der volle Inhalt der QuelleFarías, Martín. „La música en los albores del cine sonoro chileno“. Resonancias: Revista de investigación musical 43 (November 2018): 43–66. http://dx.doi.org/10.7764/res.2018.43.3.
Der volle Inhalt der QuelleAragón Paniagua, Tatiana. „Losilla, Carlos: La invención de Hollywood. O cómo olvidarse de una vez por todas del cine clásico“. Boletín de Arte, Nr. 28 (25.03.2018): 709–12. http://dx.doi.org/10.24310/bolarte.2007.v0i28.4516.
Der volle Inhalt der QuelleVillegas, Alvaro Andres, und Santiago Alarcón. „Historiografía del cine colombiano 1974-2015“. HiSTOReLo. Revista de Historia Regional y Local 9, Nr. 18 (01.07.2017): 344–82. http://dx.doi.org/10.15446/historelo.v9n18.58785.
Der volle Inhalt der QuelleFlores, Silvana. „Vínculos transnacionales entre México y Estados Unidos: la figura de José U. Calderón en la transición al cine sonoro /Transnational links between Mexico and United States: the figure of José U. Calderón in the transition to sound cinema“. Kamchatka. Revista de análisis cultural., Nr. 10 (29.12.2017): 513. http://dx.doi.org/10.7203/kam.10.10821.
Der volle Inhalt der QuelleDissertationen zum Thema "Cine sonoro"
Sussoni, Ramos Nicole Ivette. „La importancia del diseño sonoro cinematográfico: una comparativa entre el cine y el streaming“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655139.
Der volle Inhalt der QuelleIn recent years, technology has progressed to such an extent that with the emergence of streaming platforms, the way of enjoying a movie has completely changed, we went from sitting in a movie theater to the comfort of your home and using any electronic device. . In the case of audiovisual sound language, it has meant a stage of advance not only on a technical level but also on an aesthetic level, achieving the growth of the soundtrack within the design and production process. This article analyzes the evolution that the sound treatment of cinema has had with streaming content and new advances in technology, through a comparative analysis of the work of director Martin Scorsese. Also, changes within the way the viewer has the connection to the film. This topic supposes an extension of the knowledge in the field of sound design and thus know the new techniques and elements used to complement this art.
Trabajo de investigación
Robles-Guzmán, Vanessa-Cecilia. „El exorcista: un estudio de su tratamiento sonoro y de su influencia en el cine de terror contemporáneo“. Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/3594.
Der volle Inhalt der QuelleThe Exorcist, a film of horror genre directed by William Friedkin in 1973, is not only a classic of the genre; it is also a reference to horror films made later. This is due to its treatment of issues that were unprecedented for the genre, such as infantile sexuality, and the characteristics of the representation of the process of physical transformation of a possessed girl, and the design of the soundtrack and all its components: voice, sound effects, atmospheres created with them, music and silence. They are aimed at creating a climate of visceral horror, where fear caused by gender coexists with disgust, repugnance and repulsion caused by the elements of filmic representation. This article describes and interprets the uniqueness of the sound treatment of The Exorcist, pointing what has been influential in the course of the history of the horror genre.
Trabajo de investigación
Viñas, Alcoz Albert. „Celuloide inaudito: prácticas sonoras en el cine estructural (1960-1981)“. Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352713.
Der volle Inhalt der QuelleThis thesis studies the structural film sound analyzing their theoretical foundations, its practical treatments and aesthetic appreciation. A series of international structural films included under four acoustic concepts are located in order to discuss the dynamics of their sounds. The research focuses on the notion of noise, the use of the voice, the techniques of repetition and the concept of soundscape, to examine twelve films which distort the sound emphasizing its materiality. The study confirms the acoustic experiments os structural film as an essential resource to question the technological limitations of the medium.
Chavez, Leon Sofia Alessandra, Acevedo Jahaira Julie Daga, Huaracha Luz Andrea Quichiz und Clavo Melanie Nicole Trebejo. „Huaytita cortometraje animado desde la perspectiva de las áreas de gráfica, animación, edición y diseño sonoro“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/16062.
Der volle Inhalt der QuelleThe animated short film Huaytita (2019) is based on the personal experience of Melanie, a member of the group, who from a very young age has received natural remedies from her grandmother. That is why for the realization of this project we propose a main objective and a secondary objective. The main objective is to develop through this animation this grandmother-granddaughter-natural medicine relationship and reflect this in the areas of Graphics, Animation, Editing and Sound. While, the secondary objective is to achieve an audiovisual product enriched by image and sound, regardless of the use of dialogue. To achieve these objectives, we plan the necessary adjustments for the use of Adobe programs to be used for Graphics, Editing and Animation area. Subsequently, based on the script we started to work on the expression sheets and color palette for the character design; also, we worked on the design and color for the backgrounds from the Graphic area. At the same time, we handle the necessary adjustments for the music next to the composer as well as the sound design for each scene considering the environment and objects necessary for the realization of the foley from the Sound area. Once the drawing files have been digitized, we put each frame together to create a continuous movement (traditional animation). Also, we opted for the use of digital animation in the case of magic and other complex movements from the Animation area. Finally, we put together all the files managing the rhythm and time needed for each scene since the Edition. As a result, a short animated fiction was obtained that shows natural medicine not only as an alternative to cure diseases but also as a family bond and inheritance.
Trabajo de investigación
Grueso, Hierro Alicia. „El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018)“. Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/171483.
Der volle Inhalt der Quelle[CA] Aquesta tesi estudia el curtmetratge pioner del cinema parlat espanyol El Orador [L'Orador] (1928) de Ramón Gómez de la Serna, dins de la indústria primigènia del cinema sonor a través del productor Feliciano Manuel Vitores i la Hispano de Forest Fonofilms. La incògnita que s'obre sobre aquesta obra d'art "desconeguda" ha portat a buscar els detalls de la cinta i la seua ressonància viva amb el present. La tesi ha comprés una anàlisi del discurs fílmic revisant les condicions i casuístiques que van envoltar el text, el context i el seu performance posterior, analitzant l'obra El Orador [L'Orador] mitjançant la literatura de l'autor, en la seua vinculació políticasocial, tecnològica i cinematogràfica amb l'Espanya dels anys vint del s. XX. Aquest treball situa la genealogia de la conferència dramatitzada l'any 1928, demostrant com El Orador [L'Orador] és la primera performance cinematogràfica documentada al nostre país. La tesi marca un punt de partida des de El Orador [L'Orador] fins a l'actualitat traçant una línia de punts discontínua que abasta quasi cent anys, configurant un mosaic tipològic de "espècies d'oralitat" que, en paraules de Miguel Molina Alarcón, continua el deixant heretat de la conferència com a gènere artístic. L'estudi verifica l'herència, supervivència i rastres singulars de la metaoratoria ramoniana en els artistes escènics de postavantguarda. El treball s'estructura en cinc capítols. El primer descriu aspectes generals de l'autor relacionats amb el seu curt i biografia. El segon aborda el text de El Orador [L'Orador], amb assajos afins a l'estètica del seu discurs, la seua trajectòria de conferenciant, la novel·la Cinelandia i els guions que va idear per a cinema. El tercer aborda la confecció del film i la seua història dins de la indústria del cinema paleosonor, en la seua connexió amb els altres curts de l'empresa Cinefón rodats per F. M Vitores. El quart capítol narra la presentació del film com performance i la seua ressonància amb les arts escèniques actuals, proposant un collage d'artistes oradors. En l'últim presentem el projecte de cinema assaig R. cinc aproximacions al curtmetratge. Els annexos contenen diverses compilacions; imatges de l'Arxiu Vitores, recopilació de textos inèdits sobre cinema escrits per l'artista, i els seus esbossos manuscrits sobre cinema. El tipus d'investigació ha sigut mixta: constatativa, comparativa i d'enllaç, això és, s'ha confirmat la hipòtesi de partida mitjançant les noves dades obtingudes i s'ha configurat a partir del material principal una proposta creativa personal, aplicant la corrent pràctica d'art-investigació. Els resultats reeixits han sigut, d'una banda situar El Orador [L'Orador] en el seu marc temporal superant la seua visió anecdòtica i revaloritzant-la. La presumpció del paper històric de El Orador [L'Orador] ha confirmat ser positiva, demostrant ser una fita del seu temps i del nostre. El treball ha permés interpretar la nova oralitat en l'art contemporani des de les característiques humorístiques que va prefigurar l'escriptor, abordant l'actual escena performativa. Finalment, la realització de la película experimental R. ha suposat un diàleg entre temps cinematogràfics diferents i una proposta de creació híbrida inspirada per la mateixa llibertat de Ramón. Les claus crítiques i estètiques que es troben en la película permeten observar-la hui com un model exemplar de posicionament polític, intelectual i artístic.
[EN] This thesis explores the pioneering short film of Spanish spoken cinema, El Orador (1928), by Ramón Gómez de la Serna, in the context of the nascent international sound cinema industry through producer Feliciano Manuel Vitores and Hispano Forest Fonofilms. The enigmas surrounding this "unknown" work of art led to a study of every detail about the film, and its resonance with the present. The thesis involved an analysis of the filmic discourse, reviewing the environmental factors surrounding the text, its context and subsequent performance; studying the piece through the author’s literary works and through its socio-political, technological and filmographical ties to Spain in the 1920s. This paper sets the genealogy of the performative conference in Spain in 1928, showing El Orador as the first ever film performance documented in our country. The thesis begins its journey with El Orador through the present day, drawing an intermittent timeline that spans almost a hundred years, crafting a typological mosaic of “oral species” that, in the words of Miguel Molina, continues the legacy of the conference as an artistic genre. This study verifies the heritage and endurance of the ramonian meta-oratory among avant-garde performing artists from the 1950s onward. The thesis is structured in five chapters. The first describes geneal aspects of the author related to his short film and biography. The second focuses on the film’s script, compiling ramonian essays with a similar aesthetic, as well as Ramon’s own trajectory as a lecturer, including a study of the novel Cinelandia and other scenarios he planned. The third chapter covers the creation of the film and its history within the paleosonic film industry and its connection with other short films by F. M Vitores for Cinefón. The four chapter narrates the film’s presentation as performance and its resonance in the current performing arts and a collage of contemporary oral artists. The last chapter details project R. five studies of short film feature by the author. The annexes contain several compilations, on the one hand a selection from the Archive Vitores, and on the other Ramon’s writing about film, images of Ramón's manuscripts, brought together for the first time. The type of research has been mixed: factual, comparative and pursuing links, meaning the initial hypotheses has been confirmed through new data uncovered, and a personal creative proposal has been configured from the main material and applying the practical current movement of art-research. The results achieved include, first and foremost, setting El Orador in its proper place in time, going beyond its anecdotal role and reclaiming its true importance. The assumption of El Orador’s historic contribution has proven to be correct, revealing it as a milestone piece of its time and ours. The study allowed an interpretation of the new oral trend in contemporary art from the use of humor so characteristic of the writer. Finally, the experimental film R. allowed a dialogue between different film eras and a proposal of a type of hybrid creation inspired by Ramon’s own freedom. The key critical and aesthetic points found in the film allow us to view it as an exemplary model in its political, intellectual and creative positioning.
Grueso Hierro, A. (2021). El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171483
TESIS
Vigo, Davila Alejandra Andrea. „Influencia de la banda sonora en la evaluación de personajes de una película“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2014. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5396.
Der volle Inhalt der QuelleSince the beginning of cinema, movie scores have been known for performing certain functions that make the spectator’s experience more complex, some of these promote the establishment of a relationship with the main character. Using an experimental design, this study explores how different types of music (taken from drama and thriller genre) affect the evaluation of movie characters in a sample of students from a private university in Lima Metropolitana (n=30). Analyses were carried out in three levels: considering each video as a unit of analysis, across conditions (drama, thriller and without music) and within-subjects. Results show that movie music can produce differences in character likeability, interpretations of the character´s intentions, certainty of what the character is thinking or feeling and identification with the character. Responses attributed to melodramatic characters were more positive (higher likeability, better intentions and greater identification).
Tesis
Valenzuela, García Inés. „El poder narrativo del sonido : el sonido como herramienta narrativa en la película El laberinto del fauno“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2012. http://tesis.pucp.edu.pe/repositorio/handle/123456789/4422.
Der volle Inhalt der QuelleTesis
Murrugarra, Polanco David Alonso. „La función narrativa de la banda sonora en El Padrino: Parte I“. Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655905.
Der volle Inhalt der QuelleSince the implementation of sound in movies during the second decade of the 20th century, the soundtrack has gained an important place in the process of creating a film story. In this way, the vision of cinema as it was known was changed. With the birth of film genres and audiovisual creators, cinema went through a stage of rediscovery where the implementation of new techniques was an important factor in this change. Faced with this adaptation, the industry has developed the use of the soundtrack to give it a more advanced function than just avoiding unjustified silence in a movie. This research seeks to demonstrate the narrative capacity of the soundtrack for the story of a film. For this, the 1972 film: The Godfather Part I will be taken. The choice of the object of study is based on the elaborate soundtrack that accompanies the film.
Trabajo de investigación
Frisón, Fernández Carlota. „El silencio en las imágenes cinematográficas. Formas audiovisuales en el cine español del siglo XXI“. Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/384477.
Der volle Inhalt der QuelleThe present investigation aims at studying the phenomenology of silence in film, in particular, its shaping in contemporary Spanish cinema (XXIst C). I start with the thesis that visions of silence as a human manifestation and, the cinematic ones in particular, have previously been addressed and understood in terms of absence, omission or lack of. The goal of this paper is to discuss this conception, as well as to analyze the configuration of the concept itself. I focus mainly on the idea that silence is a construction full of meaning hence when included within the cinematic image it displays what we don’t usually acknowledge as an organizer of the silent image. Stemming from the belief that the presence of cinematic silence is a construction that is specified during the film and a metaphor which works as a completely specific element, silence in cinema is a metaphoric construction that, whenever it is constructed in film, it relates and showcases the specific features of this field. A film is, itself, a moving metaphor, and that involves the existence of sonic and visual processes of transformation. It is from this conceptualization that I’ll be exploring what silence is made of and how it is established. Through the rhetoric analysis of contemporary Spanish films I’ll seek to identify how silence is constructed and portrayed in films.
Naccache, Marion. „Bernard Heidsieck & Cie : une fabrique du poétique“. Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00680287.
Der volle Inhalt der QuelleBücher zum Thema "Cine sonoro"
Posadas, Abel. Cine sonoro argentino: 1933-1943. Buenos Aires: El Calafate Editores, 2005.
Den vollen Inhalt der Quelle findenBedoya, Ricardo. El cine sonoro en el Perú. Lima: Universidad de Lima, Fondo Editorial, 2009.
Den vollen Inhalt der Quelle findenBedoya, Ricardo. El cine sonoro en el Perú. Lima: Universidad de Lima, Fondo Editorial, 2009.
Den vollen Inhalt der Quelle findenMarranghello, Daniel. La llegada del cine sonoro a Costa Rica. San Jose, Costa Rica: Ediciones Cultura Cinematográfica, 1999.
Den vollen Inhalt der Quelle findenThevenet, Homero Alsina. Cine sonoro americano y los Oscars de Hollywood. Buenos Aires: Corregidor, 1986.
Den vollen Inhalt der Quelle findenGonzález, Dailey Fernández. Confluencias de los sentidos: Diseño sonoro en el cine cubano de ficción. La Habana, Cuba: Ediciones ICAIC, 2018.
Den vollen Inhalt der Quelle findenMonteagudo, Luciano. Carlos Gardel y el primer cine sonoro argentino =: Carlos Gardel and the first Argentinean "talkies". Huesca: Festival de Cine de Huesca, 2001.
Den vollen Inhalt der Quelle findenGonzález, Luis. 50 años de cine sonoro y parlante en Colombia: Archivo histórico cinematográfico colombiano de los Acevedo. [Bogotá]: Fundación Patrimonio Fílmico Colombiano, 1987.
Den vollen Inhalt der Quelle findenAsociación Española de Historiadores del Cine. Congreso. El paso del mudo al sonoro en el cine español: Actas del IV congreso de la A.E.H.C. Madrid: Editorial Complutense, 1993.
Den vollen Inhalt der Quelle findenMariño, Cecilia Gil. Negocios de cine: Circuitos de entretenimiento, diplomacia cultural y nación en los inicios del sonoro en Argentina y Brasil. Bernal]: Universidad Nacional de Quilmes, 2019.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Cine sonoro"
„CAPÍTULO 3. La transición al cine sonoro“. In Una historia comparada del cine latinoamericano, 113–34. Vervuert Verlagsgesellschaft, 2020. http://dx.doi.org/10.31819/9783964568960-006.
Der volle Inhalt der Quelle„EL SONIDO RECOBRADO“. In Cine argentino contemporáneo, 161–72. Vervuert Verlagsgesellschaft, 2016. http://dx.doi.org/10.31819/9783954878536-009.
Der volle Inhalt der QuelleZalm, Jeroen van der. „Películas andinas para pueblos andinos : cine al aire libre en las provincias de Cusco y Apurímac“. In Imaginación visual y cultura en el Perú, 427–43. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9789972429835.019.
Der volle Inhalt der QuelleMonteiro Garcia, Midian Angélica. „Imagen y sonido alrededor: la potencia del falso en el cine brasileño contemporáneo“. In Diversidades e inclusiones: Desfronterizar lenguajes económicos, socioculturales y educativos: V Simposio Internacional horizontes humanos, 216–27. Universidad Católica de Pereira, 2018. http://dx.doi.org/10.31908/eucp.18.c147.
Der volle Inhalt der QuelleThibaud, Jean-Paul. „Le sonore dans tous ses états : trente-cinq ans de pistes de recherche au CRESSON“. In Aux sons des mémoires, 147–72. Presses universitaires de Lyon, 2016. http://dx.doi.org/10.4000/books.pul.27148.
Der volle Inhalt der Quelle„4 • Osservazioni conclusive“. In I francescani cinesi e la traduzione della Bibbia Con traduzione di Huainian Liu Xutang shenfu e testo cinese a fronte. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-672-5/005.
Der volle Inhalt der QuelleMiranda, Marina, und Elisa Giunipero. „Introduzione“. In Interpretazioni della storia in Cina Uso politico e letture del passato. Venice: Fondazione Università Ca’ Foscari, 2024. http://dx.doi.org/10.30687/978-88-6969-735-7/000.
Der volle Inhalt der QuelleBoyacıoğlu, Nur Elçin, und Zeynep Dilşah Yılmaz. „Yaşlılarda Cinsellik“. In Geleceğin Yeni Sahipleri Yaşlılar, 95–102. İstanbul Üniversitesi–Cerrahpaşa Yayınevi, 2023. http://dx.doi.org/10.5152/0542.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Cine sonoro"
Fischer, Andre. „Nuevo diseño transmedia para festivales de cine tradicionales“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.g195.
Der volle Inhalt der QuelleChen, Shiping, Cheng Chi, Pengfei Zhang, Peng Wang, Yu Li, Jiyuan Liu und Haining Huang. „Aiding AUV Localization Using a Dual-Sided Synthetic Aperture Sonar“. In 2021 CIE International Conference on Radar (Radar). IEEE, 2021. http://dx.doi.org/10.1109/radar53847.2021.10027967.
Der volle Inhalt der QuelleMassarolo, João. „Grupo de Estudio sobre Medios Interactivos en Imagen y Sonido (GEMInIS)“. In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.89.g111.
Der volle Inhalt der QuelleGrueso Hierro, Alicia. „Conferencias performativas (1923-2020): del Circo de Ramón Gómez de la Serna al Circo Interior Bruto“. In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15569.
Der volle Inhalt der QuelleDyephart, Anouchka. „Concevoir aujourd’hui un film sur la villa Savoye“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.652.
Der volle Inhalt der QuelleCova Morillo, Miguel Angel De la. „Des-montaje de la maqueta de la propuesta para el Palacio de los Soviets de Le Corbusier“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.725.
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