Reminder Cfp “The Strange Vice of Mrs. Wardh” and the Giallo: an International Film Conference

Total Page:16

File Type:pdf, Size:1020Kb

Reminder Cfp “The Strange Vice of Mrs. Wardh” and the Giallo: an International Film Conference H-Film Reminder CfP “The Strange Vice of Mrs. Wardh” and the giallo: an International Film Conference Discussion published by Andreas Ehrenreich on Monday, February 9, 2015 The Strange Vice of Mrs. Wardh and the giallo: an International Film Conference Hosted by the Austrian Historical Institute and Sheffield Hallam University’s Department of Humanities in cooperation with Cineteca Nazionale The giallo is a cinema of leather gloves and razors, of inappropriate pathos, which dignifies murder as an artistic act. It is a guilty pleasure whose concise mannerism represents a unique phenomenon within the history of European film. Mario Bava who conceived the formula with The Evil Eye (1963) provided its first masterpiece withBlood and Black Lace (1964) to inspire very heterogeneous successors. Dario Argento, Massimo Dallamano, Luciano Ercoli, Lucio Fulci, Umberto Lenzi and, especially, Sergio Martino are the most influential but only a few of all the directors producing perhaps more than 200 gialli in the 1970s. Through the DVD boom, a new generation of cinephiles has gained access to the popular film cycle, which has been enthusiastically embraced. The conference, whose aim is to explore the genre beyond Bava’s and Argento’s well-studied contributions, takes Sergio Martino’s The Strange Vice of Mrs. Wardh (1971) as a focal point, but proposals on other films are just as welcome. Likely topics include: Cinematic characteristics of the film cycle Configurations of the set piece The significance of film music (of, e. g., Bruno Nicolai, Stelvio Cipriani or Ennio Morricone) The giallo as a transnational phenomenon Production/distribution/exhibition/reception contexts The construction of authorship Generic hybridity/the giallo’s relation to coeval popular film cycles Cross-media appropriations Studies of specific films or remakes Archival sources stemming from giallo productions Of course, the topics above are to be understood merely as suggestions and not as constraints. We are delighted to announce Professor Richard Dyer (King’s College London) as our distinguished keynote speaker. On the evening of June 7, The Strange Vice of Mrs. Wardh will be screened at the Cinema Trevi, and followed by a panel discussion with director Sergio Martino, screenwriter Ernesto Citation: Andreas Ehrenreich. Reminder CfP “The Strange Vice of Mrs. Wardh” and the giallo: an International Film Conference. H- Film. 02-09-2015. https://networks.h-net.org/node/14467/discussions/60569/reminder-cfp-%E2%80%9C-strange-vice-mrs-wardh%E2%80%9D-and-giallo-i nternational Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Film Gastaldi and leading actor George Hilton. Venue: Österreichisches Historisches Institut, Viale Bruno Buozzi 111–113, I-00197 Roma Date: June 7–9, 2015 Deadline for submission: For presentations (max. 20 minutes) in English, please submit a short abstract (title, topic, resources) and a current CV by February 20, 2015. Notification by the end of February. Contact: Andreas Ehrenreich, Sheffield Hallam University, [email protected] Citation: Andreas Ehrenreich. Reminder CfP “The Strange Vice of Mrs. Wardh” and the giallo: an International Film Conference. H- Film. 02-09-2015. https://networks.h-net.org/node/14467/discussions/60569/reminder-cfp-%E2%80%9C-strange-vice-mrs-wardh%E2%80%9D-and-giallo-i nternational Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2.
Recommended publications
  • An Interview with Sergio Martino: an American in Rome
    1 An interview with Sergio Martino: An American in Rome Giulio Olesen, Bournemouth University Introduction Sergio Martino (born Rome, 1938) is a film director known for his contribution to 1970s and 1980s Italian filone cinema. His first success came with the giallo Lo strano vizio della Signora Wardh (Next!) (1971), from which he moved to spaghetti westerns (Mannaja [A Man Called Blade], 1977), gialli (I corpi presentano tracce di violenza carnale [Torso], 1973), poliziotteschi (Milano trema: la polizia vuole giustizia [The Violent Professionals], 1973), horror movies (La montagna del dio cannibale [The Mountain of the Cannibal God], 1978; L’isola degli uomini pesce [Island of Mutations], 1979), science fiction movies (2019, dopo la caduta di New York [2019, After the Fall of New York], 1983) and comedies (Giovannona Coscialunga disonorata con onore [Giovannona Long-Thigh], 1973). His works witness the hybridization of international and local cinematic genres as a pivotal characteristic of Italian filone cinema. This face-to-face interview took place in Rome on 26 October 2015 in the venues premises of Martino’s production company, Dania Film, and addresses his horror and giallo productions. Much scholarship analyses filone cinema under the lens of cult or transnational cinema studies. In this respect, the interview aims at collecting Martino’s considerations regarding the actual state of debate on Italian filone cinema. Nevertheless, e Emphasis is put on a different approach towards this kind of cinema; an approach that aims at analysing filone cinema for its capacity to represent contemporaneous issues and concerns. Accordingly, introducing Martino’s relationship with Hollywood, the interview focuses on the way in which his horror movies managed to intercept register fears and neuroses of Italian society.
    [Show full text]
  • Piraten- Und Seefahrerfilm 2011
    Repositorium für die Medienwissenschaft Matthias Christen; Hans Jürgen Wulff; Lars Penning Piraten- und Seefahrerfilm 2011 https://doi.org/10.25969/mediarep/12750 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Christen, Matthias; Wulff, Hans Jürgen; Penning, Lars: Piraten- und Seefahrerfilm. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 120). DOI: https://doi.org/10.25969/mediarep/12750. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0120_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 1 Medienwissenschaft / Hamburg: Berichte und Papiere 120, 2011: Piraten- und Seefahrerfilm. Redaktion und Copyright dieser Ausgabe: Matthias Christen, Hans J. Wulff, Lars Penning. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0120_11.html Letzte Änderung: 28.4.2011. Piratenfilm: Ein Dossier gentlichen Piraten trennen, die „gegen alle Flaggen“ segelten und auf eigene Rechnung Beute machten. Inhalt: Zur Einführung: Die Motivwelt des Piratenfilms / Matthi- Selbst wenn die Helden und die sehr seltenen Hel- as Christen. dinnen die Namen authentischer Piraten wie Henry Piratenfilm: Eine Biblio-Filmographie. / Hans J. Wulff. Morgan, Edward Teach oder Anne Bonny tragen und 1. Bibliographie. 2. Filmographie der Piratenfilme. ihre Geschichte sich streckenweise an verbürgte Tat- Filmographie der Seefahrerfilme / Historische Segelschif- sachen hält, haben Piratenfilme jedoch weniger mit fahrtsfilme / Lars Penning.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • The Mise-En-Scène of a Decade: Visualizing the 70S Adam Charles Hart
    REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS-CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE CONTRIBUTORS ANDREW PENDAKIS Publication details, including open access policy NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON and instructions for contributors: K. R. CORNETT FRASER MCCALLUM http://imaginations.glendon.yorku.ca THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS The Mise-en-scène of a Decade: Visualizing the 70s October 29, 2018 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 To cite this article: Roberts, Seb. “Strange Vices: Transgression and the Production of Difference in the Giallo.” Imaginations, vol. 9, no. 1, 2018: Web (date accessed), pp. 115-131. DOI 10.17742/IMAGE.p70s.9.1.9. To link to this article: http://dx.doi.org/10.17742/IMAGE.p70s.9.1.9 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions.
    [Show full text]
  • Bodies of Desire and Bodies in Distress
    Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................
    [Show full text]
  • Sieve Reeves, Sylvia Koscina. and Gabriele Anionini As Hfrnilfs, Lou-, ;Iiid Ulysses in Erróle Fin Rrgiva Cli Lidia Ílierfule.S Vitrliained)
    .Sieve Reeves, Sylvia Koscina. and Gabriele Anionini as HfrnilfS, loU-, ;iiid Ulysses in Erróle fin rrgiva cli Lidia ílierfule.s Vitrliained). Note the "echoing effcci," as lolf and Ulys5t.s appear as ever more diminisbed and "impcrtt-ci" versions of Hercules. Pholofesf Gentlemen Prefer Hercules: Desire I Identification I Beefcake Robert A. Rushing Anyone Here for Love? One of the most memorable sequences in Howard Hawks's Gentle- men Prefer Blondes (US, 1953) is the musical number "Ain't There Anyone Here for Love?" Dorothy Shaw (Jane Russell) is accom- panying her friend Lorelei Lee (Marilyn Monroe) lo Piiris on a cruise across the Atlantic. While Lorelei is romantically involved with a wealthy young man, Dorothy is single—and lonely for some company. So she is only too happy to find tliiit the ship is filled with a team of handsome male athletes, bodybuilders, and gym- nasts. As Dorothy asks in an earlier scene, "The Olympic team? For me? Now wasn't thai thoughtful of somebody?" Her sense of tri- umph fades, iiouever, once the voyage is underway. The atbletes are in training and barely glance at her. The song's lyrics likewise revolve around this conflict between sports and sex: for instance, one stanza runs, "I'm apatbetic / and nonathletic / Can't keep up in a marathon / T need some shoulders to lean tipon / . Ain't there anyone here for love?" Love itself, oi course, is figured as a Camera Obicura 6g, Viilume 23, Number 3 IMII 10.1^15/02705346-2008-011 © 2008 hy Camera Oh.snuri Pulilishf d bv Duke Universitv Press '59 i()o .
    [Show full text]
  • Discover Our Complete Catalogue, Click Here!
    2 TABLE OF CONTENTS NEW FILMS 4 IN PRODUCTION 42 LIBRARY 48 RESTORED MASTERPIECES 54 SPAGHETTI WESTERN 66 ACTION 70 HORROR/SCI-FI 76 ADVENTURE 82 DRAMA 86 COMEDY 90 EROTIC 94 CONTACTS 101 3 4 NEW FILMS 5 Directed by Alessio Liguori Cast: Andrei Claude (Game of Thrones), David Keynes (Pirates of the Carribean), Jack Kane (Dragonheart Vengeance / The A List), Zak Sutcliffe, Sophie Jane Oliver, Terence Anderson Year of Production: 2019 Country: Italy, Germany (English spoken) Genre: Mistery, Fantasy, Coming of Age Duration: 76’ 6 SHORTCUT A group of five teenagers is trapped inside their school bus after a mysterious creature invade the road. Time runs and every passing minute decreases their survival chances against the constant threats of that unknown entity. 7 Directed by Marco Coppola Cast: Charlie Hofheimer (24: Legacy /Mad Men / Black Hawk Down), Leticia Peres, Natalia Dyer (Stranger Things) Year of Production: 2019 Country: USA Genre: Romance, Drama, Comedy Duration: 80’ 8 THE NEAREST HUMAN BEING Devin's struggles between an office job he hates and a pitiful career as an actor. Things get worse when his beautiful girlfriend Jasmine decides to stop hoping he could ever turn into serious 'relationship material'. She seizes the opportunity to try new experiences but soon her reckless single life induces Jasmine to question herself. Will she give Devin a second chance? 9 Directed by Simone Isola and Fausto Trombetta Original Title: Se c'è un Aldilà sono Fottuto. Vita e Cinema di Claudio Caligari Cast: Claudio Caligari, Alessandro Borghi (Romolus & Remus - The First King / On my Skin / Naples in Veils / Suburra), Valerio Mastandrea (Euforia / Perfect Strangers / Pasolini), Luca Marinelli (They call me Jeeg / Don’t be Bad / Martin Eden) Year of production: 2019 Country: Italy Genre: Documentary Duration: 104' 10 NO FILTERS.
    [Show full text]
  • Claudio Pacifico
    Claudio Pacifico Gender: Male Service: +393397052806 Height: 5 ft. 1 in. E-mail: info@stuntconceptacademy... Weight: 158 pounds Web Site: http://www.claudiopa... Birthdate: 05/09/1963 Hair Length: Regular Waist: 32 Inseam: 30 Shoe Size: no info Physique: Athletic Coat/Dress Size: 40 Ethnicity: Mediterranean Photos Film Credits Pirates of the Caribbean - on stunt double Paul Bazely Rob Marshall / George Marshall strange tides Rouge, Greg Powell Prince of Persia Sands of time Assansin Porcupine Mike Newell / G.A. Aguilar, Greg Powell Angels & Daemons stunt driver Ron Howard / Brad Martin Dhulm, years of torment Stunt coordinator Najdat Anzour Mission Impossible III Stunt Coordinator Italy J.J. Abrams / Vic Armstrong Body of lies double Ali Suliman Ridley Scott / G.A. Aguilar Gangs of New York Stunt coordinator Italy - double DD Martin Scorsese / G.A. Aguilar Lewis U-571 Stunt Coordinator Italy Jonathan Mostow / Pat Romano Casanova double Heath Ledger Lasse Hallstrom / Bill Hobbs Cutthroad Island double Geena Davis Renny Harlin / Vic Armstrong The talented Mr Ripley double Jude law Anthony Minghella 007 tomorrow never dies stunt double Roger Spottiswoode / Vic Armstrong Che - part II - Guerrilla stunt double Steven Soderberg / G.A. Aguilar Generated on 09/25/2021 07:23:05 pm Page 1 of 9 Michael Lehmann / Charlie Picerni Ladyhawke stunt performer Richard Donner / Richard Graydon The godfather part III stunt performer F.F. Coppola / Buddy Joe Hooker The jewel of the Nile stunt performer - double Avner Lewis Teague / Glenn Randall Eisenberg
    [Show full text]
  • Il Profumo Della Signora in Nero and the Giallo Film
    Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Cannibals and Other Impossible Bodies: Il Profumo Della Signora In Nero and the Giallo film Alexandra Heller-Nicholas, Swinburne University of Technology, Melbourne, Australia For cult film audiences and academics alike, the Italian giallo film is considered predominantly an auteurist domain, where films by the subgenre‟s big names—Mario and Lamberto Bava, Lucio Fulci, Aldo Lado, Sergio Martino, Umberto Lenzi, Luciano Ercoli, and of course Dario Argento—have generally garnered the most attention. Translating literally to “yellow,” the word giallo refers to the yellow covers of the pulp crime novels released by publisher Mondadori during the 1920s, locating the origins of the giallo in the work of authors such as Edgar Wallace. As one of the first giallo films, Mario Bava‟s The Girl Who Knew Too Much (La ragazza che sapev troppo, 1962) contains many of the giallo film‟s signature elements: sex, crime, and most famously a psychotic killer in black leather gloves. But as Mikel J. Koven notes in his book La Dolce Morte: Vernacular Cinema and the Italian Giallo Film (2006), these generic traits are far from uniform, and a privileging of the most well- known giallo auteurs risks missing the subgenre‟s thematic foundations. Inherent to Koven‟s analysis of giallo is its status as a fundamentally Italian cultural phenomenon. However, the reality of their production contexts speaks of a category that expanded far beyond national borders. While the giallo film is commonly discussed in terms of its fundamental “Italianness,” it is worthy of note that 68 of the 134 films listed in Adrian Luther Smith‟s book Blood and Black Lace: The Definitive Guide to Italian Sex and Horror Movies (1999) are international co-productions.
    [Show full text]
  • “We're Not Rated X for Nothin', Baby!”
    CORSO DI DOTTORATO IN “LE FORME DEL TESTO” Curriculum: Linguistica, Filologia e Critica Ciclo XXXI Coordinatore: prof. Luca Crescenzi “We’re not rated X for nothin’, baby!” Satire and Censorship in the Translation of Underground Comix Dottoranda: Chiara Polli Settore scientifico-disciplinare L-LIN/12 Relatore: Prof. Andrea Binelli Anno accademico 2017/2018 CONTENTS CONTENTS ........................................................................................................................................................................ 1 INTRODUCTION ............................................................................................................................................................. 3 SECTION 1: FROM X-MEN TO X-RATED ............................................................................................................ 11 Chapter 1. “DEPRAVITY FOR CHILDREN – TEN CENTS A COPY!” ......................................................... 12 1.1. A Nation of Stars and Comic Strips ................................................................................................................... 12 1.2. Comic Books: Shades of a Golden Age ............................................................................................................ 24 1.3. Comics Scare: (Self-)Censorship and Hysteria ................................................................................................. 41 Chapter 2. “HAVE YOU EVER SEEN THE RAIN?”: RISE AND FALL OF A COUNTERCULTURAL REVOLUTION ................................................................................................................................................................
    [Show full text]
  • Michael Den Boer on December 17Th, 2009 Theatrical Release
    10,000 Bullets » Private Lesson, The http://10kbullets.com/reviews/p/private-lesson-the/ Search Home Reviews Features Links About Private Lesson, The Written by: Michael Den Boer on December 17th, 2009 Theatrical Release Date: Italy, 1975 Director: Vittorio De Sisti Writers: Paolo Brigenti, Vittorio De Sisti Cast: Carroll Baker, Rosalino Cellamare, Leonora Fani, Carlo Giuffrè, Leopoldo Trieste, Renzo Montagnani, Femi Benussi, Constantina Petkova, Rossano Jalenti, Luisa Maneri, Riccardo Mangano, Emilio Locurcio DVD released: October 20th, 2009 Approximate running time: 87 minutes Aspect Ratio: 1.85:1 Anamorphic Widescreen Rating: NR Sound: Dolby Digital Mono English, Dolby Digital Mono Italian Subtitles: N/A DVD Release: Sinful Mermaid Region Coding: Region 0 NTSC Retail Price: $24.95 Synopsis: A young pianist becomes infatuated with the new music teacher. The star and main attraction of The Private Lesson is Carroll Baker who is cast in the role of Laura Formenti a sexual repressed school teacher. After a highly successful run in Hollywood appearing in films like Giant , Baby Doll , How the West Was Won and Harlow , Carroll Baker would go onto to be one of the more in demand American Actresses working in Italian cinema in the late 1960‘s and early 1970’s. Some of her most notable films from this era include The Sweet Body of Deborah , Baba Yaga and a handful of films with director Umberto Lenzi, Paranoia , So Sweet… So Perverse , A Quiet Place to Kill and Knife of Ice . The Private Lesson like many of the Italian films which she appeared in centered on her sex appeal.
    [Show full text]
  • A SHORT HISTORY of CANNIBAL FILMS Umberto Lenzi, 1972 Story
    A SHORT HISTORY OF CANNIBAL FILMS FLORIAN CRAMER IL PAESE DEL SESSO SELVAGGIO /MONDO CANNIBALE 1 Umberto Lenzi, 1972 Story: Reporter flees to an outback area in Thailand, first gets taken prisoner and tortured by the village tribe, then becomes a member of it, marries a tribal woman and ends up as the chief of the tribe. Riff on adventure movies, Robinson Crusoe topic Not yet a cannibal film in the strict sense. Elements of every cannibal movie: • fake authenticity (German dubbing and text contradict each other) • white people come to a tribal area • ritual rape • tribal female nudity • animal slaughter • eating guts White male character as the observer, camera, alter ego of the audi- ence: Duplication of camera perspective and character perspective. Only the enemy tribe consists of cannibals. Racism: Cannibals have darker skin. His wife is the most Western-looking woman in the vil- lage. Sex touristic fantasy, man on the search for an obedient wife – as evident in the title “the country of savage sex”. Me Me Lai: TV game show host in England, later actress in Lars von Trier’s “Element of Crime” Classical “exploitation movie” Date: January 23, 2006. 1 englishA SHORT HISTORY OF CANNIBAL FILMS 2 MONDO CANE, 1962 Shock documentary film, the first of its kind. Juxtaposition of strange or disgusting cultural habits both in Western and in indigenous cul- tures, combined with a dark sarcastic commentary and a sweet Muzak-like film score (by Riz Ortolani). Most of the footage was staged. Catholic “vanity” mood of the film: “It’s a dog’s world”.
    [Show full text]