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Home , Asia Argento, Blood and Black Lace, Cameron Mitchell (actor), Clara Calamai, Claudio Simonetti, Daria Nicolodi

22 “Te sound, it looks wonderful.” —

If the colour yellow once evoked the pleasant imagery of bright summer days and blooming bush daisies, it certainly took a dark turn in the cinematic world of twentieth century . Murder mysteries shot in saturated colours depicting grim, nightmares of brutal killings became the new yellow—the flm. But before referring to a of graphic Italian horror flms, giallo, the Italian word for yellow, was used to describe a genre of paperback mystery novels with bright yellow spines and covers introduced by the Milanese publishing house Mondadori in 1929.1 Most of the stories were translations of English and hard- boiled detective novels, including work by , Sir Arthur Conan Doyle, and 2, with translations of novels appearing to be some of the most popular during the 1930s and 1940s.3 Despite the fact some critics, such as Alberto Savino, believed that mysteries were “unnatural” and “foreign” to Italian culture, these novels managed to inspire not only an Italian literary tradition with authors such as Giorgio Scerbanenco, Andrea Camilleri, and Carlo Lucarelli 4, but also some of the most terrifying and visually striking flms to come out of Italy during the and . Gialli frequently cross generic boundaries of crime flms, horror movies, and thrillers, and therefore may be more appropriately considered flone, as they are by many Italian critics, rather than part of a genre.5 Meaning large thread, the term flone is used to indicate a looser collection of similar themes and styles.6 Gialli can be more generally related to each other in this way, and thus a flm like Dario Argento’s (1977) can be called giallo despite its greater resemblance to the supernatural horror . For the most part, however, gialli do have underlining similarities. Tey can be characterized by their spectacular visual richness, displaying “set pieces” (as some critics call them7) of brutal murder orchestrated with symphonies of gushing bright red-orange blood and musical horror that grips the heart of its viewers and rips their sanity from their chests. Te murderous maestro is more ofen than not an elusive, traumatized mental

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case in black leather or latex gloves and a suspicious trench coat. Te killer also almost always manages to stay one step ahead of the amateur pursuers, and the victim is almost guaranteed to be a woman whose murder is executed with the intimacy of a romance but with all the fnesse of a demented butcher wielding a hatchet. According to Peter Bondanella, “…the world of the giallo is one of cynicism, greed, sexual depravity, and violence: everyone, not just the murderer, has something to hide”.8 Although a formulaic structure is generally present, the narrative plotting is fairly loose, frequently bordering on a lack of rational sense. Gialli privilege dramatic visuals and music over narrative logic, which arguably is what makes them so memorable. A few great directors associated with the giallo flone include , Dario Argento, and . Just as the look is iconic, the sound is vicious and cutthroat. Music has a strong presence—a horrifying compliment to the disturbing imagery. Giallo scores tend to be a whirlwind of repeated motifs that may tread dangerously on the boundary between diegetic and nondiegetic. Te music also accompanies the sounds of the murders themselves, which linger in a suspended romance between stabbing knives, choking, and screams of abject fear. Anne Billson describes the giallo sound as “typically an intoxicating mix of groovy lounge music, nerve-jangling discord, and the sort of soothing lyricism that belies the fact that it’s actually accompanying, say, a slow motion decapitation” (Billson, “Violence, mystery, and magic: how to spot a giallo movie”).9 Many of these characteristics are present in the flm music for Dario Argento’s Profondo Rosso (1975), written by the progressive rock band Goblin and pianist and composer . Profondo Rosso exhibits many of the classic giallo narrative tropes with an enthralling score; Goblin’s music is a vortex of repetitive themes and leitmotifs that fow deceptively between the realm of diegetic and nondiegetic. Te score frequently combines strange rhythms, atonal colouring, and electronic sound efects that provoke a very corporeal engagement with the flm. For the most part, the music is saved for parts of extravagant violence with long sections of silence in between, and rather than enhancing the image subtly, the music charges head-on with the image into the foreground during almost every one of the most dramatic moments. Tis essay will focus mainly on Profondo Rosso as a giallo (thematically and musically), but will also briefy touch upon Goblin’s musical contribution to Argento’s Suspiria and Tenebrae (1982). Afer Profondo Rosso, Goblin scored Argento’s Suspiria in which they create a terrifying musical experience with an even simpler, but

24 CAMéRA StyLo possibly more efectively fear-inducing, soundtrack than their previous efort. Goblin also worked on a number of horror flms, such as the Italian versions of George A. Romero’s Dawn of the Dead (1978) and a list of B-Movies both in Italy and in the United States.10 [“Furthermore,”] they composed the score for Tenebrae (but they were not credited as Goblin due to contract issues), and Phenomena (1985) along with , Motörhead, Iron Maiden, and Andi Sex Gang from Te Sex Gang Children.11 Other notable giallo composers include , who scored Argento’s Te Bird with the Crystal Plumage (1970), and , who scored Emilio Miraglia’s Te Red Queen Kills Seven Times (1972). Some historians see a number of early Italian mystery and crime flms as antecedents of the giallo flm, such as Guido Brignone’s Corte d’Assise (1930), Nunzio Malasomma’s L’uomo dall’artiglio (1931), and ’s Giallo (1933), while others credit ’s neorealist classic (1942) as having started the giallo flone.12 Despite this, Mario Bava is unofcially credited as the director who brought giallo’s violent eroticism to flm with Te Girl Who Knew Too Much (1963) and (1964).13 Having begun his career as a cinematographer and special efects artist in the department of the before turning to directing, Bava’s frst gialli introduced many of the traits that would become associated with giallo, such as the amateur investigator, red herrings, the killer’s disguise, and brutal acts of murder against women.14 However, unlike Argento’s gialli and the majority of others that followed, Bava’s frst giallo, Te Girl Who Knew Too Much, looks and sounds more like a traditional Hollywood flm noir. It is shot in , makes use of chiaroscuro lighting, and the music by Roberto Nicolosi sounds more like smoky lounge jazz than Italian horror. Blood and Black Lace, on the other hand, looks much more like the gialli to follow. Shot in lavish , the flm features music by , which will contribute to the creeping suspense, but without the intense atonal quality prevalent in later gialli. Bava may have brought giallo literature to the screen, but Dario Argento added a graphic and operatic touch that really pushed the giallo flone forward in the 1970s. Visually, the flms’ baroque sets and over- the-top colour palette display some of the most beautiful scenes of bodily destruction. In addition, musical collaborations between Argento, Ennio Morricone, and Goblin would also push and defne the giallo sound. According to the documentary Dario Argento: An Eye For Horror (2004),

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Argento had a strong appreciation for visually striking imagery and he admired for this reason. It was Leone who gave Argento his frst opportunity to write for movies. Argento co-wrote Leone’s Once Upon a Time in the West (1968) with Bernardo Bertollucci, and this experience inspired Argento to start writing flms of his own. His frst giallo thriller and commercial success was Te Bird with the Crystal Plumage (1970). Argento chose Morricone to score the flm, and the resulting music would help defne the giallo sound. Morricone was also writing music with Gruppo di Improvvisazione Nuova Consonanza that formed in 1964, which was an experimental music group at the forefront of European modern music based around him, Franco Evangelisti, and Egisto Macchi.15 Morricone’s score for Argento can be described as experimental atonal jazz with haunting disembodied vocals (including frequent collaborations with famous Italian singer Edda Dell’Orso), hard rhythms, and twinkling notes that add a haunting dream-like feel. Combining elements of classical music, jazz, and rock with an atonal edge, the score is reminiscent of future gialli scores. According to John Bender in Morricone: Te Triller Collection (1992), “[T]he [sic] provided [Morricone] with an enhanced psychosexual canvas upon which he could paint some of the boldest concepts of his career.16 Morricone also scored Argento’s Cat O’ Nine Tails (1971) and Four Flies on Grey Velvet (1971). Goblin would then continue to push musical boundaries when they team up with Argento on Profondo Rosso. Argento’s next 1975 giallo, Profondo Rosso, is a classic example of the narrative formula that was present in earlier flms, such as Te Bird with the Crystal Plumage. First, the plot repeats the trope of the amateur detective. A British pianist named Marcus Daly (David Hemmingsi) witnesses the murder of a German psychic named Helga Ulman (Macha Méril), who heard the demented thoughts of her murderer during a psychic demonstration. While returning home one night, Marcus meets up with his drunk best friend Carlo (Gabriel Lavia) in a piazza by the Blue Bar. A blood-curdling scream interrupts their conversation, and Marcus looks up to see Helga being pushed through a window by a killer with a cleaver. Marcus runs up to her apartment, but fnds her dead with glass impaled into her throat. Te police are called and begin their investigation. Marcus becomes obsessed with the idea that he has seen something important—a painting he believes disappeared from the wall. He then takes it upon i also plays a similar role in Antonioni’s Blow-Up (1966).

26 CAMéRA StyLo himself to solve the crime, calling it a personal challenge. He meddles in the murderous afair with the help of a strong-willed journalist, Gianna Brezzi (). Fundamentally, the plot revolves around an elusive, traumatized killer in the classic disguise. Te flm opens with a fashback to a Christmas stabbing: A bloody knife is thrown at the feet of a child, and the sound of a creepy lullaby accompanies the whole scene. Later, it is revealed that the child was Carlo and that he had witnessed his mentally unstable mother kill his father who wanted her to get psychiatric help. Te flm thus plays out like a Freudian nightmare, flled with the trauma of youth and the resulting distress in adulthood. Moreover, the killer’s identity is lef undisclosed until the end when Marta, Carlo’s mother, reveals herself as the mental case in a brown trench coat and black leather gloves. Also, as is typical of the genre, Marcus is led down a trail of red herrings. He is frst driven by an obsession with a missing painting that turns out to be a mirror that refected the face of the murderer. Marcus is then led astray afer a visit to an old villa where he uncovers a disturbing mural of a murder drawn by a child beneath the drywall. He assumes the murderer must be the artist, and he eventually fnds out Carlo drew the picture. Carlo becomes the accused and he dies a nervous, but ultimately innocent, wreck. Marcus realises that something is amiss, and in a fnal encounter with the true knife-wielding maniac, Marta reveals herself to Marcus as the murderer, and she dies in a fnal set piece of elevator- induced decapitation. Moreover, the baroque sets, bright colour palette, innovative camera work and point of view shots in Profondo Rosso prove an important feature of the giallo flm. Argento had a reconstruction of Edward Hopper’s Nighthawks painting made for the Blue Bar in the flm, and there is also a stunning art nouveau villa known as the House of the Screaming Child in the flm that stands as an ominous reminder of past trauma.17 Furthermore, the murders themselves are staged like elaborate set pieces that prolong the agony of each elaborate death. Helga’s murder, for example, features her being attacked with a cleaver and thrown to the foor before being smashed through a window. Her neck is stabbed into the jagged pane of glass, and the killer leaves her hanging out the window like a severed head on a spike placed over the ramparts of a medieval castle. Her death lasts about seven minutes alone from the moment she hears a lullaby play to when she dies at the window. Instead of simply hearing her scream and fnding her dead later, we are given close ups of

27 AMANDA GRECo bright gushing blood, the cleaver breaking , and glass piercing her throat. Te death is a show in itself, and an example of what Isabel Pinedo describes in the postmodern horror flm context as the “spectacle of the wet death,” which is the presentation of the violent deconstruction of the body for entertainment.18 In addition, the death of Amanda Righetti is one of the most elaborate violent set pieces in the flm. Her murder is unexpectedly executed and combines the theme of childhood trauma with brutal murder. Lasting just under seven minutes from the moment she encounters a doll hanging from the ceiling by a tiny noose to when she fnally dies in the bathroom, her murder feels prolonged and tense as the lights go of one by one in her house and a bird fies towards her in the dark (unexplained like the wild birds in Hitchcock’s Te Birds [1963]ii). Finally the killer emerges from the shadows, and Amanda is beaten and then has her face boiled in her bathtub. In her fnal moments, she tries to write the killer’s name in the condensation on the bathtub tiles—the moment lingers until her fnger falls with a fnal squeak. While an atypical way to be killed, it is incredibly efective on flm. In An Eye For Horror, it was explained that Argento sought for more creative and perhaps relatable ways to kill of his characters. Not everyone knows what it feels like to be stabbed, but most have burned himself/herself on hot water. Te same principle was applied to Professor Giordani’s death. He is frst assaulted by a horrible doll on wheels and then has his face smashed against sharp furniture corners before being stabbed through the back of his neck. Once again, if the viewers cannot relate to being stabbed, surely they have accidentally bumped into a sharp corner before. Argento grips his viewers’ attention through displays of murders in suspended time, prolonging the agony juxtaposed with the bright visual beauty of these romantic deaths. Lastly, the flm frequently employs a very mobile camera, interesting zoom shots, close ups, and point of view shots from the perspective of the killer. One of the most visually poetic uses of mobile camera and point of view shot is at the flm’s beginning. Embodying the ii Argento is ofen called the “Italian Hitchcock” and, like the English director, he also had his own television series, An Eye For Horror (Mitchell, 94). Tere are also several nods to Hitchcock’s flms, such as close ups of drains in Profondo Rosso that are reminiscent of the famous Psycho (1960) shower scene. Despite the similarities, Argento’s style is not Hitchcock’s. In 1988, Argento said, “Hitchcock… is…more refned. Too refned…I’m not stingy with efects, whereas he’s lean and rigorous. With music… he uses it as a background…which at a certain point comes to the fore, whereas I use it in a much more robust way” (Mitchell, 94).

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perspective of the killer as it moves into an auditorium where a psychic demonstration is taking place, the camera eventually moves out of the auditorium as it embodies the killer getting up from her seat and walking out and toward a sink with a dirty mirror that fogs out her refection. Tis type of unclaimed point of view shot that allows us to see through the eyes of the killer is what Carol Clover describes as the “I-Camera” in reference to later slasher flms, such as ’s (1978), which was heavily infuenced by Argento’s gialli.19 Furthermore, there is a liberal use of zoom shots, such as when Carlo and Marcus hear Helga scream there is a quick zoom-out into an extreme long shot that accompanies the expansive, echoing cry. Additionally, a beautiful combination of close ups and mobile camera appears when the camera pans over small toys and knives on a black table, ending on an extreme close up of the killer’s eye being lined in black. Overall, Profondo Rosso is an enchanting giallo flm with its elaborate sets, intriguing camerawork, and disturbingly bloody encounters. Profondo Rosso is not only visually striking, but also musically remarkable. Jazz composer Giorgio Gaslini was originally hired to write the score, but according to Goblin , they had begun recording, but Argento said, “I want something more rock in the flm,” and thus sought out collaboration with bands such as Pink Floyd and Deep Purple.20 Gaslini lef the flm and Argento ultimately hired Goblin, who at the time was writing a record titled “Cherry 5” under the band name Oliver (not Cherry 5 like the record said).21 Simonetti explained in An Eye For Horror that much of the music was written before the flm was shot and Argento would then play the music on set to inspire the right mood for shooting. Goblin’s music is essential to the creation of Profondo Rosso’s atmosphere, and it not only provokes fear in viewers, but it also inspired fear in the actors before even a frame was captured on celluloid. Te score is truly captivating. According to Maitland McDonagh, “[u]nlike Moricone’s score for the frst three flms, which are designed to act as straightforward (if ironic) counterpoint to the images, Goblin’s compositions are an integral part of the unpredictable diegesis…”.22 Te band’s repetitive themes, strange sounds, and progressive rock beats are visceral, taking the foreground with the image during the most dramatic moments, with some themes also acting as a leitmotif for bodily harm. Most of the silence in the flm occurs during the calmer moments in between murders, such as when Marcus and Gianna are arm wrestling in

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his apartment or arguing in her rundown car. Aaron Smuts notes “Goblin’s accompaniment… [serves] as a transition device into horrifc excess characteristic of Argento’s flms”.23 Tis is true since most of the greatest moments of death and panic are met with Goblin’s sporadic drumbeats and musical chaos iii afer long moments of musical absence. Te music cannot be ignored, and it charges in full blast from the silence and crashes into the image to form a tragic opera of sonic and visual excess. Gabrielle Lucantino separates the music in Profondo Rosso into seven events on page 39-40 of his book Profondo Rock: 1) Jazz band music played by the , Marcus, that is used simply to characterize him as a good jazz pianist. 2) Giorgio Gaslini’s haunting lullaby “School At Night” that accompanies the murderous fashback as well as present killings. Played from a cassette tape, the lullaby prepares the murderer to kill, the victim to be killed, and the spectators who await the bloody spectacle. 3) Nondiegetic accompaniment, like an orchestra just outside the screen, such as the song “Gianna” that underlines moments between Marcus and Gianna like a leitmotif for their blossoming relationship. 4) Goblin’s songs “Mad Puppet” and “Death Dies.” Te former aggressively enhances the violent imagery on screen, while the latter accompanies Marcus on his investigations. 5) Goblin’s “Profondo Rosso,” with its obsessively repetitive melodies, is used for the opening titles and the end credits, as well as during parts closely related to homicide in the flm. 6) “Wild Session” performed by Goblin, but written by Giorgio Gaslini that evokes homicidal violence. For example, it is heard when Helga hears the killer’s thoughts in the auditorium at the beginning of the flm. 7) Giorgio Gaslini’s “Deep Shadows,” performed by Goblin, is linked to the past, and is heard when Marcus discovered the sealed room of the villa. It is apparent that the flm makes frequent use of leitmotifs through several recurring themes. First, there is the child’s lullaby that the killer plays ominously on a handheld cassette player before every crime. Professor Giordani intuitively calls it the leitmotif of the crimes in the flm. Te theme’s combination of childhood innocence and murderous insanity makes it very efective in building the tension before each morbid set piece. Ofen introduced by a close up of the cassette player being switched on by the killer’s gloved hand, the lullaby also calls back to the original murder shown during the flm’s opening credits in which the shadow of a grisly

iii See Appendix Fig. 1 for a tracklist of the soundtrack reissue released by Cinevox in 2005.

30 CAMéRA StyLo stabbing is cast against a wall to the tune of the lullaby. Ten there is also the song “Mad Puppet” that comes on when the murderer actually kills. Upbeat with hammering notes, it charges through the scenes of violent death with nervous immediacy. As such, it plays while the murderer, Marta, kills Helga, Amanda, and Professor Giordani. However, when Marta tries to kill Marcus at the end, no music plays, perhaps as a subtle hint that everything will turn out okay since previous moments of calm or playfulness in the flm were ofen shown without music. “Death Dies,” a ‘sleuthing piece’ played during times of investigation, is characterised by a repetitive bass rif. It follows Marcus when he frst explores the villa and when he explores the Leonardo da Vinci School with Gianna. Finally, the main theme of Profondo Rosso is ofen related to objects of the killer’s trauma, such as when the camera pans over objects of childhood and murder in a fowing visual scene shown twice with variation in the flm, and when Marcus fnds the child’s mural that fossilizes the moment of past trauma in the villa. In addition to the use of leitmotif, Profondo Rosso’s music ofen treads within the wilds between diegetic and nondiegetic. Te flm does this most notably with the child’s lullaby. First heard as nondiegetic music in the initial murder sequence during the opening credits of the flm, Helga’s murder introduces the piece again, but this time from a hidden source. A German psychic who is capable of hearing thoughts and seeing things the moment they occur, Helga begins screaming and swaying wildly. Claiming to be hearing the murderous thoughts of the killer, she also seems to hear the sick lullaby that must have been swirling through the killer’s demented brain. Once in her apartment, Helga hears the lullaby once more. Accompanied by several low-angle close ups of a quarter of her face, alternating with eye-line matches of part of her room, her eye looks around suspiciously as she listens. In this moment, it could be assumed that the lullaby is what Claudia Gorbman would call “metadiegetic” (i.e. music from the subjective perspective of a character), since Helga has claimed to have heard the song in her head before, so perhaps she is hearing it in her mind again, and now the viewers are given access to what she hears mentally.24 However, when the killer later attempts to murder Marcus, the viewers are given a quick close up of a cassette tape player, sourcing the lullaby from within the diegesis. Shortly afer, Marcus is seen leaving a record store with a vinyl of the lullaby as it plays over the scene nondiegetically. Quickly switching to diegetic again, the lullaby continues to play over a cut to a close up of a record player in Professor Giordani’s

31 AMANDA GRECo ofce. Te lullaby cuts out when Giordani lifs the needle of of the record. A fnal switch of perception occurs with the lullaby when Marta motivates a fashback to the day she killed her husband in front of the young eyes of her son Carlo. Here, the opening murder is shown from a diferent perspective. Te stabbing is visible in all its horror right afer Carlo plays a record of the lullaby next to the family Christmas tree. Tis means that the assumed nondiegetic lullaby that played during the opening fashback was actually coming from an of-screen diegetic source. Moreover, this play with aural perception mirrors the giallo’s theme of concealed vision. Foggy mirrors, mirrors mistaken for paintings, and dark shadows that conceal all except for perhaps the eye of the killer in Amanda’s closet, are examples of moments of deceptive/concealed vision. Nothing is ever what it seems in the giallo world, and the same sentiment extends to the music. Afer Profondo Rosso, Argento teamed up again with Goblin to make Suspiria. Although not a typical giallo, Goblin’s score is defnitely worth a mention. Moving away from the typical giallo themes, the flm instead indulges a fantastical nightmare in which characters convulse within the bright colours and twisted, expressionistic sets of this supernatural horror-fairy-tale extravaganza. Te story of a young American ballet dancer named Suzy Bannion () attending a German dance school controlled by a secret of witches, is embellished by strange happenings, brutal murders, and Goblin’s chilling compositions. Simonetti said, “the real Goblin sound is in Suspiria”. 25 Trough a simple soundtrack of hoarse whispers, screeches, howling, and electronic dissonance, the flm is elevated, transformed into a terrifying fairy-tale akin to nightmares of the most garishly masochistic variety. Suspiria is one long nervous breakdown with clawing music and bewitching themes. Philip Brophy describes the music in Suspiria as a “hysterical unleashing of noise in libidinal, psychological, and overall mind-bending modes…typically relentless, scathing and excessive”.26 Like Profondo Rosso, Suspiria’s soundtrack plays within the realm between diegetic and nondiegetic— that mystical uncharted territory Robynn Stilwell would refer to as the “fantastical gap”27— by combining of-screen sounds to the sonic chaos that is the nondiegetic music.28 Furthermore, the main theme becomes a leitmotif for witchcraf and the , while enhancing the mental anguish of characters with the musical madness. Overall, the score’s excess perhaps succeeds Profondo Rosso’s, expanding onto some of

32 CAMéRA StyLo the more jarring themes of discordant whispers and pained whines and turning them into their own sonic centrepieces in Suspiria iv. Te opening theme is particularly powerful with its repetitive combination of hoarse vocals, chilling twinkling note progressions, and ominous drumming that brings to mind the image of a witchy pagan ritual. Furthermore, Dale Pierce notes that the melody is a “twisted version of the old children’s church song ‘Jesus loves me, this I know. For the Bible tells me so’… creating subliminal messages within the brains of the viewers and making them aware of ‘something evil’ in the dancehall, even before the killings and satanic rituals start…”29. Te music takes on its own ominous presence, so horrifyingly corporeal in itself that it feels ready to jump out and stab you in the heart. Argento returned to the giallo flone with Tenebrae (1982), but Goblin’s contribution to the score is very diferent from Profondo Rosso and Suspiria. Goblin had disbanded in 1980, leaving Argento to ask only three Goblin members, Claudio Simonetti, Fabio Pignatelli, and Massimo Morante, to work on Tenebrae.30 Furthermore, Simonetti was experimenting with dance music at the time, which led to a synthesizer- driven, electronic-rock score with a bit of disco thrown in for good measure.31 Tony Mitchell refers to the score as “turgid and bombastic pomp rock, with Simonetti’s organ efects dominating, while the other tracks provide inconsequential atmospheric efects”.32 Tenebrae’s theme is a completely diferent beast compared to Suspiria’s theme, for example, Suspiria’s theme could probably turn a depiction of a pleasant seaside picnic into a suspenseful, twisted and tortured Winnie-the-Pooh-meets- Hannibal-Lecter story just on its own merit alone. Perhaps Tenebrae’s theme does sound a bit campier than the other scores, but the flm itself does not disappoint in the blood and gore department. Finally, Argento’s flms were inspired by his nightmares. He would write down his pained dreams and they would become his scripts. His devilishly clever imagination gave cinematic life to truly creative depictions of death and violent bodily destruction. His strikingly vivid imagery and luxurious colour palette like smooth blood-red velvet took the themes and iconography from the Italian giallo literary tradition that Mario Bava brought to the screen and enhanced them into romantic

iv In Profondo Rosso, hellish compilations of pained whines and echoed whispers can be heard accompanying a long shot of Marcus researching in the library and before Amanda is confronted by the killer in her home.

33 AMANDA GRECo nightmares with operatic grandeur. Profondo Rosso stands as his giallo masterpiece, and its gorgeously disturbing imagery is met by Goblin’s aggressive sonic chaos—whirlwinds of repetitive electronic melodies, sporadic rhythms, and atonal mayhem charge to the forefront with the visual violence, while toying with viewers from the shadows of diegetic and nondiegetic. Te music has a life of its own, and it will not stop until the victim is pushing up yellow daisies.

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APPENDIX

Fig. 1

Track List: Goblin, Profondo Rosso as listed on the Album Reissue (2001):

A1 “Profondo Rosso” A2 “Death Dies” A3 “Mad Puppet” B1 “Wild Session” B2 “Deep Shadows” B3 “School at Night” B4 “Gianna”

Album Credits: Giorgio Gaslini composed and orchestrated tracks B1 to B4, Goblin composed and performed tracks A1 to A3, and Giorgio Gaslini conducted tracks A3 to B4.

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1 Peter E. Bondanella, “Mystery, Gore, and Mayhem: Te Italian Giallo.” In A History of Italian Cinema. (, NY: Continuum International Pub. Group, 2009), 372. 2 Ibidem, 372. 3 Michael J. Koven, La Dolce Morte: Vernacular Cinema and the Italian Giallo Film. (Lanham, MD: Scarecrow, 2006), 2. 4 Bondanella, 373. 5 Koven, 5. 6 Bondanella, 374. 7 Bondanella, 375. 8 Ibidem, 375. 9 Anne Billson, “Violence, Mystery and Magic: How to Spot a Giallo Movie.” Te Daily Telegraph (London, U.K.), October 14, 2013. 10 Tony Mitchell, “Prog Rock, the and Sonic Excess: Dario Argento, Morricone and Goblin.” In Terror Tracks: Music, Sound and Horror Cinema. Edited by Philip Hayward. (London, England: Equinox, 2009), 97. 11 Ibidem, 97. 12 Koven, 3. 13 Koven, 3. 14 Gino Moliterno, Te A to Z of Italian Cinema. (Lanham, MD: Scarecrow, 2009), 25. 15 Franco Fabbri and Gofredo Plastino, Made in Italy: Studies in Popular Music. (New York: Routledge, Taylor & Francis Group, 2014), 221. 16 Mitchell, 91. 17 Bondanella, 385. 18 Isabel Cristina Pinedo, “Te Pleasure of Seeing/Not-Seeing the Spectacle of the Wet Death.” In Recreational Terror: Women and the Pleasures of Horror Film Viewing. (Albany, NY: State University of New York, 1997), 51. 19 Carol J. Clover, “Her Body, Himself.” In Men, Women, and Chain Saws: Gender in the Modern Horror Film. (Princeton, NJ: Princeton University Press, 1992), 45. 20 Mat Colegate, “Claudio With A Chance Of Pain: Simonetti On Profondo Rosso.” Te Quietus (London, UK), January 17, 2013. 21 Ibidem, “Claudio With A Chance Of Pain”. 22 Maitland McDonagh, Broken Mirrors/Broken Minds: Te Dark Dreams of Dario Argento. (Secaucus, NJ: Carol Publication Group, 1994), 32. 23 Mitchell, 93.

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24 Claudia Gorbman. “Narratological Perspectives on Film Music.” In Unheard Melodies. (London, England: BFI Publications, 1987), 22. 25 Colegate, “Claudio With A Chance Of Pain”. 26 Mitchell, 95. 27 Robynn J.Stillwell, “Te Fantastical Gap between Diegetic and Nondiegetic.” In Beyond the Soundtrack. Edited by Daniel Goldmark, Lawrence Kramer, and Richard Leppert. (Berkeley, CA:University of California Press, 2007), 185. 28 Mitchell, 93. 29 Mitchell, 95. 30 Gabrielle Lucantonio, Profondo Rock: Claudio Simonetti tra Cinema e Musica da Profondo Rosso a La Terza Madre. (, Italy: Coniglio Editore, 2007), 91. 31 Ibidem, 91. 32 Mitchell, 97.

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BIBLIOGRAPHY

Billson, Anne. Violence, Mystery and Magic: How to Spot a Giallo Movie. Te Telegraph: Telegraph Media Group, October 14, 2013, accessed December 9, 2015, http://www.telegraph. co.uk/culture/flm/10377468/Violence-mystery-and-magic-how- to-spot-a-giallo-movie.html.

Te Birds. Digital. Directed by . Performed by Rod Taylor, Tippi Hedren, and Suzanne Pleshette.1963. USA: , 2001. DVD.

Te Bird with the Crystal Plumage. Digital. Directed by Dario Argento. Performed by Tony Musante, Suzy Kendall, and Enrico Maria. 1970. Italy: Central Cinema Company Film, 2009. Blu-ray.

Blood and Black Lace. Digital. Directed by Mario Bava. Performed by , Eva Bartock, and Tomas Reiner. 1964. Italy: Emmepi Cinematografca, 2000. DVD.

Blow-Up. Digital. Directed by . Performed by David Hemmings, , and Sarah Miles. 1966. UK, Italy, USA: Bridge Films, 2004. DVD.

Bondanella, Peter E. “Mystery, Gore, and Mayhem: Te Italian Giallo.” In A History of Italian Cinema. New York: Continuum International Pub. Group, 2009. 372-415.

Cat O’ Nine Tails. Digital. Directed by Dario Argento. Performed by James Franciscus, Karl Malden, and . 1971. Italy: Seda Spettacoli, 2001. DVD.

Clover, Carol J. “Her Body, Himself.” In Men, Women, and Chain Saws: Gender in the Modern Horror Film. Princeton, NJ: Princeton UP, 1992. 21-63.

38 CAMéRA StyLo

Colegate, Mat. Claudio With A Chance Of Pain: Simonetti On Profondo Rosso. Te Quietus, January 17, 2015, accessed December 9 2015. http://thequietus.com/articles/17023-claudio-simonetti- interview.

Corte d’Assise. Film. Directed by Guido Brignone. Performed by Marcella Albani, Lia Franca, Carlo Ninchi. 1930. Italy: Società Italiana . [No DVD]

Dario Argento: An Eye for Horror. TV. Directed by Leon Ferguson. Performed by Dario Argento, George A. Romero, John Carpenter, Michael Brandon, and . Channel: 2004.

Dawn of the Dead. Digital. Directed by George A. Romero. Performed by David Emge, Ken Foree, and Scott H. Reiniger. 1978. Italy, USA: Laurel Group, 2004. DVD.

Fabbri, Franco, and Gofredo Plastino. Made in Italy: Studies in Popular Music. New York: Routledge, Taylor & Francis Group, 2014.

Four Flies on Grey Velvet. Digital. Directed by Dario Argento. Performed by Michael Brandon, , and Jean-Pierre Marielle. 1971. Italy: Marianne Productions, 2009. DVD.

Giallo. Film. Directed by Mario Camerini. Performed by Assia Noris, Sandro Rufni, and Steiner. 1933. Italy: Società Anonima Stefano Pittaluga. [No DVD]

Te Girl Who Knew Too Much. Digital. Directed by Mario Bava. Performed by Letícia Román,, and . 1963. Italy: Galatea Film, 2000. DVD.

Gorbman, Claudia. “Narratological Perspectives on Film Music.” In Unheard Melodies. London: BFI, 1987. 11-30.

Inferno. Digital. Directed by Dario Argento. Performed by Leigh McCloskey, Irene Miracle, and . 1980. Italy: Produzioni Intersound, 2007. DVD.

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Koven, Michael J. La Dolce Morte: Vernacullar Cinema and the Italian Giallo Film. Lanham, Maryland: Scarecrow, 2006.

Lucantonio, Gabrielle. Profondo Rock: Claudio Simonetti tra Cinema e Musica da Profondo Rosso a La Terza Madre. Rome: Coniglio, 2007.

Lucantonio, Gabrielle. “Sempre Nuovi Orizzonti Sonori La Musica.” In Argento Vivo. Edited by Vito Zagarrio. Venice: Marsilio Editori, 2008. 215-23.

McDonagh, Maitland. Broken Mirrors/Broken Minds: Te Dark Dreams of Dario Argento. Secaucus, NJ: Carol Pub. Group, 1994.

Mitchell, Tony. “Prog Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin.” In Terror Tracks: Music, Sound and Horror Cinema. Edited by Philip Hayward. London, England: UK: Equinox, 2009. 88-100.

Moliterno, Gino. Te A to Z of Italian Cinema. Lanham, MD: Scarecrow, 2009.

Once Upon a Time in the West. Digital. Directed by Sergio Leone. Performed by Henry Fonda, Charles Bronson, and . 1968. Italy: Rafran Cinematografca, 2003. DVD.

Ossessione. Digital. Directed by Luchino Visconti. Performed by , , and Dhia Cristiani. 1942. Italy: Industrie Cinematografche Italiane, 2002. DVD.

Phenomena. Digital. Directed by Dario Argento. Performed by , Donald Pleasence, Daria Nicolodi. 1985. Italy: DACFILM, 2005. DVD.

Pinedo, Isabel Cristina. “Te Pleasure of Seeing/Not-Seeing the Spectacle of the Wet Death.” In Recreational Terror: Women and the Pleasures of Horror Film Viewing. Albany, NY: State U of New York, 1997. 51-143.

40 CAMéRA StyLo

Profondo Rosso. Digital. Directed by Dario Argento. Performed by David Hemmings, Daria Nicolodi, and . 1975. Italy: Incir De Paolis Studios, 2011. DVD.

Psycho. Digital. Directed by Alfred Hitchcock. Performed by Anthony Perkins, Janet Leigh, and Vera Miles. 1960. USA: Shamley Productions, 2008. DVD.

Te Red Queen Kills Seven Times. Digital. Directed by Emilio Miraglia. Performed by Barbara Bouchet, Ugo Pagliai, and Marina Malfatti. 1972. Italy: Phoenix Cinematografca, 2006. DVD.

Simonetti, Claudio, Fabio Pignatelli, Massimo Morante, Agostino Marangolo, and Maurizio Guarini. Profondo Rosso Reissue. Goblin. © 2001 Cinevox Records. Vinyl.

Stilwell, Robynn J., “Te Fantastical Gap between Diegetic and Nondiegetic.” In Beyond the Soundtrack. Edited by Daniel Goldmark, Lawrence Kramer, and Richard Leppert. Berkeley: University of California Press, 2007. 184-202.

L’uomo dall’artiglio. Film. Directed by Nunzio Malasomma. Performed by Dria Paola, Carlo Fontana, and Elio Steiner. 1931. Italy: Cines Studios. [No DVD]

Suspiria. Digital. Directed by Dario Argento. Performed by Jessica Harper, Stefania Casini, Flavio Bucci. 1977. Italy: Seda Spettacoli, 2001. DVD.

Tenebrae. Digital. Directed by Dario Argento. Performed by , , and Christian Borromeo. 1982. Italy: Sigma Cinematografca Roma, 2015. Blu-ray.

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