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Artistic Imagery in Dario Argento's Cinema

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Artistic Imagery in Dario Argento's Cinema Artistic Imagery in Dario Argento’s Cinema A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2012 Giulio Giusti School of Languages, Linguistics and Cultures List of Contents LIST OF CONTENTS ............................................................................. 2 LIST OF FIGURES ................................................................................................. 5 ABSTRACT ............................................................................................................. 7 DECLARATION ...................................................................................................... 8 COPYRIGHT STATEMENT ................................................................................... 8 ACKNOWLEDGMENTS ....................................................................................... 9 INTRODUCTION ................................................................................................. 10 CHAPTER 1: Contextualising Dario Argento within Italian Horror ............................................ 30 1.1. The Italian Classic Horror Cycle (1956-1966) .................................................... 31 1.1.1. Central themes and visual tropes of the Italian Classic Horror Cycle ........ 34 1.2. The Giallo Cycle (1970-1982) ........................................................................ 37 1.2.1. Central themes of the Bava-Argento formula .......................................... 39 1.2.2. Visual tropes of the Bava-Argento formula .............................................. 41 1.3. Conclusion .................................................................................................... 44 CHAPTER 2: Associating States of Mind with Iconography in La Sindrome di Stendhal (1996) 46 2.1. Synopsis ........................................................................................................ 47 2.2. Stendhal Syndrome from literature to psychoanalysis................................. 49 2.3. Contextualising La Sindrome di Stendhal within Argento’s work ................ 52 2.4. The symbolic association of Anna’s states of mind with art ........................ 56 2.4.1. Art and the unheimlich ............................................................................. 60 2.4.2. Art and the sublime .................................................................................. 63 2.4.3. Art and the psychotic perturbing ............................................................. 64 2.4.4. Losing oneself in a work of art ................................................................. 67 2.4.5. Water as the recurrent symbolical motif in Anna’s disturbance .............. 70 2.4.6. Art and the reconstruction of narrative coherence .................................. 72 2 2.5. Murder as an act of artistic creation and the victim as objet d’art .............. 74 2.6. Conclusion .................................................................................................... 78 CHAPTER 3: The Interplay of Imagery, Camerawork, and Soundtrack in Profondo rosso (1975) ........ 87 3.1. Synopsis ........................................................................................................ 88 3.2. Contextualising Profondo rosso within Argento’s work ............................... 90 3.3. Association-provocation of hyperrealist imagery and soundtrack .............. 94 3.3.1. Endoscopic images and the snorkel camera ............................................ 96 3.3.2. Reflected images: the murder set-pieces ............................................... 100 3.3.3. Reflected images: the invisibility of the visible through the artwork ..... 105 3.4. The creation of spaces through artistic imagery and camerawork ............ 108 3.4.1. Metaphysical spaces as phase displacement of the senses ................... 109 3.4.2. Edward Hopper’s imagery as the symbol of incommunicability ............ 112 3.5. Conclusion .................................................................................................. 115 CHAPTER 4: The Expressionist Use of Colour Palette, Set Design, and Spaces in Suspiria (1977) ...... 123 4.1. Synopsis ...................................................................................................... 124 4.2. Contextualising Suspiria within Argento’s work ......................................... 126 4.3. The expressionist use of colour palette ..................................................... 130 4.4. The expressionist use of architecture and décor ....................................... 137 4.4.1. The symbolic function of architecture and décor ................................... 140 4.4.2. The dramatic function of architecture and décor................................... 145 4.5. The expressionist representation of spaces through camerawork ............ 150 4.6. Conclusion .................................................................................................. 156 3 CHAPTER 5: Principles of Dualism through Iconography in Il fantasma dell’Opera (1998) .... 163 5.1. Synopsis ....................................................................................................... 165 5.2. Contextualising Argento’s Il fantasma dell’Opera from literature to adaptation .. 166 5.3. The opposition between the lower and the upper through iconography ........... 171 5.3.1. The double nature of the Phantom through the pictorial depiction of his lair ............... 173 5.3.2. The grotesque and the sublime through the pictorial depiction of the upper world .........176 5.4. “Female otherness” through iconography ....................................................... 183 5.5. “Retribution” and “Retaliation” through iconography in the act of murder ....... 188 5.6. Conclusion .................................................................................................... 195 CONCLUSION ................................................................................... 205 FILMOGRAPHY ................................................................................. 213 BIBLIOGRAPHY ................................................................................. 217 WORD COUNT: 74.147 4 List of Figures CHAPTER 2: Figures 1-6: The credit sequence in La sindrome di Stendhal (1 and 2) and diegetic references from Michelangelo’s Giudizio universale (1538-1541) (3 and 4), Hans Memling’s Last Judgement (1467-1471) (5) and Tryptich of Earthly Vanity and Divine Salvation (c. 1495) (6) in La terza madre ................................. 80 Figures 7-14: The diegetic tableaux in the Uffizi Gallery ................................. 80-81 Figures 15-24: Anna Manni’s hallucination in the Uffizi Gallery ...................... 81-82 Figures 25-34: Anna Manni’s hallucination in the police headquarters .......... 82-83 Figures 35-50: Anna Manni’s hallucination in the hotel Porta rossa ............... 83-84 Figures 51-54: Anna Manni’s immersion in the artwork ...................................... 85 Figures 55-58: Anna Manni as objet d’art: plan-tableaux of Andrea Mantegna’s Cristo morto (1480-1490) (55 and 56) and Caravaggio’s Deposizione (1602-1603) (57 and 58) ....................................................................................................... 85-86 CHAPTER 3: Figures 1-16: The sequence of the conference on parapsychology ................... 118 Figures 17-26: The sequence with the snorkel camera ...................................... 119 Figures 27-29: Charles Bell’s marbles series ....................................................... 119 Figures 30-32: A hyperrealist painting by Chuck Close (30) and the killer’s gaze in Profondo rosso (31 and 32) ................................................................................. 120 Figures 33-36: Profondo rosso’s credit sequence ............................................... 120 Figures 37-42: The killer’s ritual of death: the hand-held tape recorder (37 and 38) and the macabre gadgets (39-42) ....................................................................... 120 Figures 43-50: The martyred bodies and their reflections ................................. 121 Pictures 51-54: Art of deception: the trompe-l’oeil through the mirror ............ 121 Figures 55-58: Piazza CLN in Turin from different angles and perspectives ...... 121 Figures 59-61: De Chirico’s Ariadne series: L’Enigma dell’ora (1910) (59), Melanconia (1912) (60), and Ariadne (1913) (61) ............................................... 122 Figure 62: Edward Hopper’s Nighthawks (1942) ................................................ 122 Figures 63-66: The plan-tableau of Hopper’s Nighthawks in Profondo rosso .... 122 CHAPTER 4: Figures 1-6: The blue-red-yellow colour palette through the IB stock ............... 158 Figures 7-10: The blue-red-yellow colour palette in the set design ................... 158 Figures 11 and 12: The shadow of the vampire in Murnau’s Nosferatu (1922) and the shadow of Helena Markos through the projection of the balcony .............. 158 Figures 13-16: Nature foretelling danger in the opening sequence of Suspiria . 159 Figures 17-20: The Tanz Akademie from different angles and perspectives ...... 159 Figures 21-24: The esoteric triangle in the architecture and décor ................... 159 Figures 25-30: Examples of Art Nouveau in the architecture and décor ............ 160 5 Figures 31 and 32: Examples of association between circular lines and femininity in German Expressionist Cinema of the 1920s
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