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Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/201996
La imagen-monstruo: Una mirada de lo monstruoso como signo cinematográfico
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[spa] Este trabajo presenta la idea de un nuevo signo cinematográfico incluido dentro de la representación que se establece de lo monstruoso (la “imagen-monstruo”), siguiendo, para ello, tanto las propuestas que Gilles Deleuze desarrolla en 'La imagen-movimiento y la imagen-tiempo', al igual que la obra 'Francis Bacon: lógica de las sensaciones'. Para poder presentar este nuevo signo, el trabajo se desarrolla a través de dos puntos: primero, un planteamiento teórico de lo monstruoso y lo que Deleuze establece como “imagen del pensamiento”; segundo, un análisis de dos estilos cinematográficos, siendo estos una imagen-monstruo centrada en lo corporal (teniendo en principal consideración las obras de John Carpenter y David Cronenberg) y una imagen-monstruo establecida dentro del cine moderno (siendo aquí analizadas las obras de Michael Haneke y Ulrich Seidl).
[eng] This work presents the idea of a new cinematographic sign included within the representation that is established of the monstruous (the “monster-image”), following, to do this, the proposals that Gilles Deleuze develops in 'Cinema 1: The Movement Image, Cinema 2: The Time Image' and, at the same time, his work 'Francis Bacon: The Logic of Sensation'. In order to present this new sign, the works is developed through two items: first, a theoretical approach to the monstruous and what Deleuze established as the “image of thought”; second, an analysis of two cinematographic styles, being these an image-monster focused on the corporal (taking into consideration the cinematographic works of John Carpenter and David Cronenberg) and an image-monster established within modern cinema (being analysed here the works of Michael Haneke and Ulrich Seidl).
[eng] This work presents the idea of a new cinematographic sign included within the representation that is established of the monstruous (the “monster-image”), following, to do this, the proposals that Gilles Deleuze develops in 'Cinema 1: The Movement Image, Cinema 2: The Time Image' and, at the same time, his work 'Francis Bacon: The Logic of Sensation'. In order to present this new sign, the works is developed through two items: first, a theoretical approach to the monstruous and what Deleuze established as the “image of thought”; second, an analysis of two cinematographic styles, being these an image-monster focused on the corporal (taking into consideration the cinematographic works of John Carpenter and David Cronenberg) and an image-monster established within modern cinema (being analysed here the works of Michael Haneke and Ulrich Seidl).
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Treballs Finals de Grau d'Estudis Literaris, Facultat de Filologia, Universitat de Barcelona. Curs: 2022-2023. Tutora: Annalisa Mirizio
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LAKHWANI SÁNCHEZ, Aitor. La imagen-monstruo: Una mirada de lo monstruoso como signo cinematográfico. [consulted: 6 of June of 2026]. Available at: https://hdl.handle.net/2445/201996