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Mark of the Devil: On a Classic Exploitation Film Conference Report by Thomas Hödl and Joachim Schätz 170 The landmark film Mark of the Devil While Deniz Bayrak and Sarah Reininghaus premiered in Europe in 1970. Although the smartly analysed the topological system of the film boasts an incredible cast, including two movies, Marcus Stiglegger set them in Herbert Lom, Reggie Nalder, Herbert Fux and relation to his concept of transgressive cinema a young Udo Kier, and was successful enough, as inspired by Georges Bataille. Julian Petley both in Europe and the U.S., to reach cult succinctly traced the history of Mark of the status and spawn a sequel, it faced controversy Devil’s censoring in Great Britain. Michael and censorship from the very start. Critics Fuchs engaged with the question of panned it for its excessive violence and authorship, which is an important point, given exploitative nature. In 2014, genre film scholar that the first film has two directors, one of Andreas Ehrenreich proved that the film was whom – Austrian actor and 1950s heartthrob more than just a meaningless series of Adrian Hoven – also acted as the film’s depictions of sex and torture and furthered the producer. (Mark of the Devil’s other officially consideration of the film from other points of credited director Michael Armstrong, a view. With the support of the Department of relative newcomer from the U.K., who had Theatre, Film and Media Studies of the previously made the 1969 proto-slasher The University of Vienna, he organised a three-day Haunted House of Horror, would go on to conference in Tamsweg, Austria, a town in the write seventies sex comedies such as Lungau region, which provided much of the blockbuster-director-to-be Martin Campbell’s gorgeous scenery for both Mark of the Devil The Sex Thief and Eskimo Nell.) Sarah Held’s and Mark of the Devil Part II. -
Spaghetti Cinema University of Bedfordshire, 9-10 May 2014
Spaghetti Cinema University of Bedfordshire, 9-10 May 2014 What is Spaghetti Cinema and Why Does it Work? Devised by Dr. Austin Fisher and first held in 2013, Spaghetti Cinema is an academic conference and film festival that celebrates the history and contemporary reach of Italian genre cinema. The first event focused on Spaghetti Westerns and the next was a two-day event dedicated to the giallo and Italian horror cinema. Both these events took place in association with the University of Bedfordshire. The balance of academic rigour and cinematic appreciation is a key element of the Spaghetti Cinema approach. The 2014 event featured screenings of Dario Argento’s Phenomena (1985), Lucio Fulci’s ...E tu vivrai nel terrore! L'aldilà/The Beyond (1981) and Ruggero Deodato’s Ultimo mondo cannibale/Last Cannibal World (1977). These screenings were set in context by the appearance of figures involved in varying degrees in the production of the films including Deodato himself alongside his Last Cannibal World actress Me Me Lai. The event also welcomed Luigi Cozzi who worked on the special effects for Phenomena and star of The Beyond, Catriona MacColl. Spaghetti Cinema represents an evolution in both academic conference and film festival terms. Fujiwara claims that festivals have seen a ‘calcification of taste’ (2013: 218), while Cousins argues that ‘so many of them present retrospectives of, or tributes to, filmmakers, genres, or themes that are already well established, part of the canon’ (2013a: 169). Cousins also states that ‘[they should] look at the past of film culture in the broadest geographical terms’ (2013a: 169). -
Dissertation After Crash 4-7-10
Roma De Profundis: Post-Economic Miracle Rome and the Films of Dario Argento (1970-1982) By Michael Loren Siegel B.A., University of Michigan, 2000 M.A., Brown University, 2003 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Modern Culture and Media at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Michael Loren Siegel This dissertation by Michael Loren Siegel is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date___________ ___________________________________ Professor Mary Ann Doane, Advisor Recommended to the Graduate Council Date___________ ___________________________________ Professor Philip Rosen, Reader Date___________ ___________________________________ Professor Massimo Riva, Reader Approved by the Graduate Council Date___________ ___________________________________ Professor Sheila Bonde, Dean of the Graduate School iii VITA Michael Loren Siegel was born on July 31, 1978 in Pittsburgh, Pennsylvania. He earned his B.A. in Film and Video Studies at the University of Michigan in Ann Arbor, Michigan in 2000, and his M.A. in Modern Culture and Media at Brown University in Providence, Rhode Island in 2003. His work on Italian cinema, television, urbanity, and visual culture has been published in the anthologies Cinematic Rome (ed. Richard Wrigley) and The Place of the Moving Image (eds. John David Rhodes and Elena Gorfinkel), and is forthcoming in A Companion to Italian Cinema (ed. Peter Brunette) and the British Film Institute’s centenary collection on Michelangelo Antonioni (ed. John David Rhodes). ! iv ACKNOWLEDGEMENTS Writing a dissertation can be an intensely isolating experience. -
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 ............................................................................................ -
Now in It's 30 Year 25Th
Now in it’s 30th Year 25th - 27th October 2019 Welcome to the third progress report for the thirtieth festival. We are pleased add another two guests have confirmed that can attend to complete the line-up for the festival. It just keeps getting better. How are you going to fit it all in? Writer/Director/Special Dez Skinn, Effects and Make-up Publisher— back by Design supremo popular request to Sergio Stivaletti finish the stories he started last year. Help us celebrate the past thirty years by sharing your memories of festivals past. Send us your photographs and tell us what you remember. We hope to include some of these in the festival programme book. Guests The following guests have confirmed that they can attend (subject to work commitments). Lawrence Deirdre Giannetto Janina Gordon Clark Costello De Rossi Faye Dana Pauline Norman J. Gillespie Peart Warren 1 A message from the 3 Festival’s Chairman 2010 As we approach Festival number 30 - one of the best 2011 things we can look forward to is getting to see a lot of faces who have been around for at least 20 or more years, who, like me, are beginning to show that it isn’t just films that age. 2012 It has been a hard task to find new guests but we managed it again this year – in fact we have some real quality guests in both the acting profession and the 2013 behind-the-screen work. When I, Tony, Harry and Dave Trengove started this event we were thinking it might continue for about 5 2014 years - not 30! So I would like to say that the success of the event, has been firmly in the hands of those mentioned and several other persons (some unfortunately no longer with us). -
The University of Bradford Institutional Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute. -
UNIVERSITA' CATTOLICA DEL SACRO CUORE MILANO Dottorato
UNIVERSITA’ CATTOLICA DEL SACRO CUORE MILANO Dottorato di ricerca in Studi umanistici. Tradizione e contemporaneità ciclo XXXI S.S.D: L- ART/06 LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO Tesi di Dottorato di : Guido Carlo Colletti Matricola: 4614694 Anno Accademico 2017 / 2018 Dottorato di ricerca in Studi Umanistici. Tradizione e contemporaneità Ciclo: XXXI S.S.D: L-ART/06 La figura femminile nel fantastico italiano Coordinatore: Ch.ma Prof.ssa Cinzia Susanna Bearzot Tesi di dottorato di: Guido Carlo Colletti Matricola: 4614694 Anno accademico 2017/2018 INDICE Introduzione 3 1 Definizione del campo e della metodologia di ricerca 7 1.1 Il sistema dei generi hollywoodiano come premessa 7 1.2 Origini del fantastico italiano. Definizioni e caratteristiche 10 1.3 Corpus della ricerca: periodizzazione e indagine quantitativa 19 1.3.1 Film a prevalenza femminile 23 1.3.2 Film corali 25 1.3.3 Film con protagonisti primari femminili 26 2 La rappresentazione femminile nel cinema horror contemporaneo 28 2.1 La corporeità femminile mediatizzata: choc, eccesso, frammentazione 29 2.2 Il corpo guardato: piacere e anti-piacere femminile. Differenti interpretazioni 36 3. L’ evoluzione del fantastico italiano 50 3.1 Il carattere internazionalista del cinema italiano 51 3.2 La crisi del cinema fantastico: gli anni Settanta 56 3.3 La crisi del cinema fantastico: gli anni Ottanta 61 4.La figura femminile come corpo attore 68 4.1 Modelli estetici femminili nel fantastico italiano: bellezza, stardom 69 4.2 Lo stile della rappresentazione: fascinazione e orrido 98 4.2.1 Volto e sguardo 103 4.2.2 Bocca e altri parti del corpo 113 4.3 Lo stile della rappresentazione: abiezione e degradazione del corpo 117 5. -
1 Welcome to This Progress Report for the Festival. the Upcoming 29Th Festival of Fantastic Films Will Be Held Over the Weekend
Welcome to this progress report for the Festival. The upcoming 29th Festival of Fantastic Films will be held over the weekend of October 26 – 28 in the Manchester Conference Centre (The Pendulum Hotel) and, from the feedback we have received so far, you are all looking forward to it. We are very pleased to be able to add some more great guests to the festival David Weston Dawn Lyn Fred Williams Luigi Cozzi The above will join the guests below, who have already confirmed their intention to attend, promising to make this year's festival another truly unforgettable weekend. Michael Craig Simon Andreu Aldo Lado Dez Skinn Ray Brady Please Note: All guests are subject to work commitments 1 A message from the Festival’s Chairman I think that the guests attending this year’s event must be just about the most numerous we have had at any event over the last 29 years. David Weston was first invited in 1993 but was unable to make it because of commitments, however we didn’t give up and it is a real pleasure to have him come along this year. We have also tried to have Luigi Cozzi attend the festival before but he too has had the same difficulties with business commitments, so it’s also great to have him confirm his attendance. Michael Craig has always been one of my favourite actors and I have fond memories of Sea of Sand, Campbell’s Kingdom and many other excellent movies he has appeared in over the years, so it is a great personal pleasure to have him accept our invitation. -
Eg Phd, Mphil, Dclinpsychol
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Deleuzean Hybridity in the Films of Leone and Argento Keith Hennessey Brown PhD Film Studies University of Edinburgh 2012 Acknowledgements I would first like to thank my supervisors, Professor Martine Beugnet, Dr Daniel Yacavone, and the late Professor John Orr. I would then like to thank my parents, Alex and Mary Brown; all my friends, but especially Li-hsin Hsu, John Neilson and Tracey Rosenberg; and my cats, Bebert and Lucia. Table of Contents Introduction ..................................................................................................... 5-20 Theory ............................................................................................................. 21-62 -
Gender, Genre and Sociocultural Change in the Giallo: 1970-1975
Mackenzie, Michael (2013) Gender, ge nre and sociocultural change in the giallo: 1970-1975. PhD http://theses.gla.ac.uk/4730/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Gender, Genre and Sociocultural Change in the Giallo: 1970-1975 Michael Mackenzie MA, MLitt Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy Department of Theatre, Film and Television Studies School of Culture and Creative Arts University of Glasgow August 2013 2 Abstract This thesis examines representations of gender in the Italian giallo, a short-lived but tremendously popular, lucrative and prolific body of films in the murder-mystery thriller tradition that enjoyed their heyday in the early-to-mid 1970s. Traditionally, both academic and populist responses to these films have focused on the output of a small number of maverick directors that have been elevated critically above their peers. Conversely, this thesis aligns itself with a more recent trend towards eschewing auteurist readings in favour of examining the giallo as a broad ‘filone’ (cycle) defined by shared iconography, narrative conventions and underlying anxieties. -
Festival of Fantastic Films Book by George Houston & George Gaddi
31st October to 2nd November 2014 at Manchester Conference Centre As the final arrangements for this year’s 25th Festival fall into place, we can promise an unprecedented list of guests and films. It’s still a bargain at this year’s one-off celebration price of £25 – which was the price a quarter of a century ago. So tell your friends. Breaking News It has now been confirmed that we will be We are pleased to hosting the UK premiere announce that actress of The Zombie King and Jennifer Lim (Hostel, we are hoping that When Evil Calls, Code members of the cast and 46) has agreed to crew will be able to attend. attend. Guests Laurence R. Harvey (whose starring role in Human Centipede II made a big splash with horror fans, and who will soon be appearing in Human Centipede III) has now joined our line up of guests. Also appearing at this year’s Festival are Luigi Cozzi (Actor/Director: Starcrash, Contamination, Hercules), Ruggero Deodato (Director: Cannibal Holocaust, House on the Edge of the Park, Last Cannibal World), Me Me Lai (Actress: Sacrifice, Last Cannibal World, Eaten Alive), Francesca Ciardi (Actress: Cannibal Holocaust, Farewell Moscow, Death Walks), Judy Matheson (Actress: Twins of Evil, Lust for a Vampire, Crucible of Terror), Janina Faye (Actress: Dracula, Day of the Triffids, Angels), Yvonne Monlaur (Actress: Brides of Dracula, Circus of Horrors, License to Kill), Caroline Munro (Actress: The Spy who Loved Me, The Golden Voyage of Sinbad, Maniac), Stephen Volk (Writer: The Awakening, Gothic, Afterlife), Professor Richard Dyer (Academic/Writer: Only White Men: Serial killing in European Cinema) and Robin Stewart (Actor: Legend of the 7 Golden Vampires, Cromwell, Bless this House). -
The Strange Vice of Mrs. Wardh and the Giallo: an International Film Conference
H-Film The Strange Vice of Mrs. Wardh and the Giallo: an International Film Conference Discussion published by Andreas Ehrenreich on Sunday, May 10, 2015 The Strange Vice of Mrs. Wardh and the Giallo: an International Film Conference Rome, June 7–9, 2015 http://blogs.shu.ac.uk/giallo Venue: Istituto Storico Austriaco, viale Bruno Buozzi 111–113, 00197 Roma 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’s aim is to explore the genre beyond Bava’s and Argento’s well-studied contributions to gain more profound insights into the various manifestations of this particular film cycle. Professor Richard Dyer (King’s College London) is our distinguished keynote speaker. On June 7, the Cinema Trevi will show three films by Sergio Martino. Before the screening of The Strange Vice of Mrs.