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El crédito bancario y el establecimiento de un colchón anticíclico

Una de las principales causas de la actual crisis económica fue el excesivo crecimiento del crédito durante la fase de expansión, que permitió la formación de desequilibrios que acabaron aflorando y provocando la contracción económica.

Para evitar que esta situación vuelva a producirse, el Comité de Supervisión Bancaria de Basilea ha introducido un colchón anticíclico, que impondrá mayores requerimientos de capital al observarse un crecimiento excesivo del crédito. Con ello, persigue que las entidades estén mejor preparadas para soportar las crisis y, en cierta medida, desincentivar el crecimiento excesivo del crédito.

Sin embargo, este enfoque no tiene adecuadamente en cuenta el papel del crédito bancario como motor de la actividad económica. En el presente artículo, se propone una implementación del colchón anticíclico que no perjudique la capacidad de la financiación bancaria para promover crecimientos económicos sostenibles, al tiempo que se emplea para incidir directamente sobre las fuentes de desequilibrios desincentivando su formación.

Mario Deprés
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El crédito bancario y el establecimiento de un colchón anticíclico
Ante las graves consecuencias que la actual crisis económica está teniendo en términos de destrucción de puestos de trabajo, gasto público para evitar la quiebra del sistema financiero y duros recortes en las políticas sociales, se han llevado a cabo profundos análisis para identificar los factores que dieron lugar a esta situación, con el objetivo de establecer mecanismos que traten de impedir que vuelvan a producirse o, al menos, que limiten sus repercusiones.

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Comentarios a este artículo
Desconocido 02/06/2012, 09:34 h

pIrmZMkjzJcqhIv 02/06/2012, 09:34 h

Desconocido 02/06/2012, 08:42 h

EEEMXKskTqTS 02/06/2012, 08:42 h

Desconocido 02/06/2012, 04:43 h

XnsXKPAPWXjELy 02/06/2012, 04:43 h

Good luck! My school got out april 21st which seems to be early, based on evoneyres blogs. But I basically neglected my blog for the last like 2 weeks and it didn't seem to hurt me that much so don't worry about it too much. haha. I posted like 2 things a week for a couple of weeks. Kinda sucks cuz im still playing catch up but oh well.
Desconocido 02/06/2012, 04:20 h

KqNhZtZxuUjTSljKn 02/06/2012, 04:20 h

Being that these are Alfred Hitchcock's last two films, FRENZY and FAMILY PLOT certainly seem like a diomctohous pair. The very British, very dark and yet wry FRENZY followed by the very American and very light FAMILY PLOT seem like a curious pair of films to end this director's brilliant career. I think perhaps they represent in an allegorical sense the full circle of Alfred Hitchcock's compendium of work from his native Britain to his adopted United States. 1972 s FRENZY is a thriller that harkens back to the type of films he was directing in the 40 s that combine his unique morbidity with incongruous humor and the element of the wrong man being accused of something he did not commit. However, the viewer (at least from my point of view) has no strong central character to identify with. Our protagonist Richard Blaney, played by Jon Finch, is a bit of an indifferent and somewhat grating sort of fellow who lacks both wit and charm gaining little sympathy from just about anyone. The true antagonist, the real Necktie Murderer and sociopath Robert Rusk, played with great charm and menace by Barry Foster, is very charismatic and demonstrates cunning intellect and perseverance throughout the film. At one pivotal and suspenseful macabre scene in the film Hitchcock actually has the audience identifying with the killer. The films macabre elements are counterbalanced by Chief Inspector Oxford (Alec McCowen) who must undergo pseudo gourmet meals, which are gastronomically hideous contrivances, served by his wife (Vivien Merchant). FRENZY is a very British treat from Alfred Hitchcock returning to his roots one last time. 1976 s FAMILY PLOT was Hitchcock's final film. In an interview with Frane7ois Truffaut, Hitchcock stated that in today's films you no longer had to close the picture with a kiss. The audience no longer needed it or expected it. The romanticism of the motion picture was dead. If not for the performances of Barbara Harris as a phony psychic and Bruce Dern as her taxi driving-detective-boyfriend this film would have indeed lacked any hint of romanticism. In a complex plot that involves the location of a missing heir, the lives of Harris and Dern become intertwined with the villainous pair of this piece (William Devane and Karen Black). Ultimately the film seems more akin to ALFRED HITCHCOCK PRESENTS than to Hitchcock's previous films. Yet it seems our beloved Alfred Hitchcock left us with just a hint of romanticism via the wacky on-again-off-again relationship of Harris and Dern throughout this film. The last frame of the film, and Alfred Hitchcock's final cinematic shot of his long career, has Barbara Harris winking out at the audience. Many critics at the time were dismayed by that wink as being hackneyed and cliche9d but in retrospect I think Hitchcock was just saying that he had a good run and it had all been fun. Godspeed Alfred.
Desconocido 31/05/2012, 23:12 h

HmQCkSaJzTw 31/05/2012, 23:12 h

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