Abstract (english) 

THE MONSTROUSNESS IN THE MUSIC VIDEOS OF FLORIA SIGISMONDI AND CHRIS CUNNINGHAM IN THE 90’S (1993-1999)

	The present doctoral thesis undertakes the investigation of monstrousness and its ideological, aesthetic and political implications which developed especially in the music videos of Floria Sigismondi and Chris Cunningham in the 90s. In that period in particular a new generation of music video directors appears that are no longer anonymous like in the 80s- now they are well-known and respected, as well as frequently transgressing the promotional marketing rulesof the standard video clip. Directors such as Michel Gondry, Chris Cunningham, Spike Jonze and Floria Sigismondi, would be within this privileged list. Moreover these respective producers generally work on miscellaneous neighbouring stylistic fields, ultrafragmentation, intertextuality and nonlinear figurative narrations. 
	Our aim is to propose a theoretical interdisciplinary corpus that determines the consequences sparked off by the abominable in the fluctuating expression of those respective authors’videoclips and their analogies with other currents of postmodern thought; at the same time it offers new cross-sectional interpretations on the improbable corporal idea. Methodologically, we started from the study of historical monstrousness and above all horror films as the antecedent of the somatic monster in movement, from which we formulated the hypothesis that the concept of the contemporary teratology applied to the grotesque videoclips; they are similar in many ways to this film genre, especially from the psychoanalytical point of view. Likewise, we have used the aesthetic analysis applied to Carol Vernallis’ videoclips, the concept of audio vision defined by Michel Chion, the theories of Gilles Deleuze, Michel Foucault, Julia Kristeva, Gérard Lenne and Friedrich Nietzsche, among others; for the in-depth analysis of videographic works. In addition, we have used various publications and relevant articles for the thesis, from the visual arts, sociology, anthropology, social pedagogy, psychology, musicology and semiotics. 
	The achieved results of this thesis by the semantics of the artistic music video interrelated with the analysis of the monster, whether it’s in the image, sound, noise, text or gesture, manages to gain access to man’s alter ego, which is in some way a deformed mirror inside ourselves, sinister gnosis that works its way into the wildest and most atavistic side of human existence. This consequently brings us closer to the inner experience formulated by George Bataille, where one reaches the limits what is possible. On the matter of this result, the artists Sigismondi and Cunningham stand out for describing in each and every one of their video clips, significant Dionysian fiction that excessively infringes the established values by using abominations such as cyborgs, political monsters, drug addicts, abject protagonists, sick rhythms, aberrant spaces, and disturbing lyrics. In summary, these ignominious conceptions of various natures help us to elaborate new enunciations of teratology in a completely new field of mass audio-visual communication as is the promotional musical video. At the same time, a specific interpretation is also offered of the monstrous figurations established by the synchresis of the image and the acoustics in synchrony with time.