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Pictorial Imagery, Camerawork and Soundtrack in Dario Argento's Deep
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 11 (2015) 159–179 DOI: 10.1515/ausfm-2015-0021 Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red Giulio L. Giusti 3HEFlELD(ALLAM5NIVERSITY5+ E-mail: [email protected] Abstract. This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of ELABORATECAMERAWORKANDDISJUNCTIVEMUSICANDSOUND3PECIlCALLY THIS article seeks to complement these studies by arguing that such a stylistic and technical achievementINTHElLMISALSORENDEREDBY!RGENTOSUSEOFASPECIlC art-historical repertoire, which not only reiterates the Gesamtkunstwerk- like complexity of the director’s audiovisual spectacle, but also serves to TRANSPOSETHElLMSNARRATIVEOVERAMETANARRATIVEPLANETHROUGHPICTORIAL techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I WILLDEMONSTRATEHOWANDTOWHATEXTENTINTHElLM!RGENTOMANAGESTO break down the epistemological system of knowledge and to disrupt the reasonable -
Xavier Aldana Reyes, 'The Cultural Capital of the Gothic Horror
1 Originally published in/as: Xavier Aldana Reyes, ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’, Journal of Italian Cinema and Media Studies, 5.2 (2017), 229–44. DOI link: 10.1386/jicms.5.2.229_1 Title: ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’ Author: Xavier Aldana Reyes Affiliation: Manchester Metropolitan University Abstract: Dario Argento is the best-known living Italian horror director, but despite this his career is perceived to be at an all-time low. I propose that the nadir of Argento’s filmography coincides, in part, with his embrace of the gothic adaptation and that at least two of his late films, The Phantom of the Opera (1998) and Dracula 3D (2012), are born out of the tensions between his desire to achieve auteur status by choosing respectable and literary sources as his primary material and the bloody and excessive nature of the product that he has come to be known for. My contention is that to understand the role that these films play within the director’s oeuvre, as well as their negative reception among critics, it is crucial to consider how they negotiate the dichotomy between the positive critical discourse currently surrounding gothic cinema and the negative one applied to visceral horror. Keywords: Dario Argento, Gothic, adaptation, horror, cultural capital, auteurism, Dracula, Phantom of the Opera Dario Argento is, arguably, the best-known living Italian horror director. -
Art, Argento and the Rape-Revenge Film
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 13 | Autumn 2011 Title The Violation of Representation: Art, Argento and the Rape-Revenge Film Author Alexandra Heller-Nicholas Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 13 Issue Date Autumn 2011 Publication Date 6/12/2011 Editors Dorothy Butchard & Barbara Vrachnas FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM | ISSUE 13 Alexandra Heller-Nicholas 1 The Violation of Representation: Art, Argento and the Rape-Revenge Film Alexandra Heller-Nicholas Swinburne University of Technology Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The ‘Heroic’ Tradition and Its Alternatives (1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. -
© 2018 Donata Panizza ALL RIGHTS RESERVED
© 2018 Donata Panizza ALL RIGHTS RESERVED OVEREXPOSING FLORENCE: JOURNEYS THROUGH PHOTOGRAPHY, CINEMA, TOURISM, AND URBAN SPACE by DONATA PANIZZA A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Italian Written under the direction of Professor Rhiannon Noel Welch And approved by ________________________________ ________________________________ ________________________________ ________________________________ New Brunswick, New Jersey OCTOBER, 2018 ABSTRACT OF THE DISSERTATION Overexposing Florence: Journeys through Photography, Cinema, Tourism, and Urban Space by DONATA PANIZZA Dissertation Director Rhiannon Noel Welch This dissertation examines the many ways in which urban form and visual media interact in 19th-, 20th-, and 21st-centuries Florence. More in detail, this work analyzes photographs of Florence’s medieval and Renaissance heritage by the Alinari Brothers atelier (1852- 1890), and then retraces these photographs’ relationship to contemporary visual culture – namely through representations of Florence in international cinema, art photography, and the guidebook – as well as to the city’s actual structure. Unlike previous scholarship, my research places the Alinari Brothers’ photographs in the context of the enigmatic processes of urban modernization that took place in Florence throughout the 19th century, changing its medieval structure into that of a modern city and the capital of newly unified Italy from 1865 to 1871. The Alinari photographs’ tension between the establishment of the myth of Florence as the cradle of the Renaissance and an uneasy attitude towards modernization, both cherished and feared, produced a multi-layered city portrait, which raises questions about crucial issues such as urban heritage preservation, mass tourism, (de)industrialization, social segregation, and real estate speculation. -
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. -
SAINT DRACULA – Glorified Soul Or Embodied Satan?
Press Release SAINT DRACULA – Glorified Soul or Embodied Satan? “The world’s first 3D Dracula movie that depicts the rebirth of the iconic character, ‘Dracula’ for love.” Synopsis: Longing for vengeance, he waited in hunger and thirst for his long lost admirer. The night hid him in the dark, the earth and the woods were his haven. He is a fallen angel, a catastrophic lover, the trodden Prince of Wallachia, but a vampire in revenge. His partisans await his reprise with a celebration. He turns lucky in love, if not for ever. Beautiful nights of love and lust entangle him with his lost love-Clara, a passionate young nun but still a mortal. The peaches and perfection takes a turn the day Clara gets spellbound by the Catholic Church. The Vatican plots the trap but will the plan thrive? Or will it be love? Biz TV Network presents yet another milestone after the most controversial movie of 2011 – ‘DAM999’ in the history of world cinema – ‘Saint Dracula 3D’. After his debut project Sohan Roy is coming up with another controversial 3D concept to change the blood sucking ‘Vampire’ image of Dracula to match with the history. ‘Saint Dracula 3D’ is written and directed by Rupesh Paul and the whole project is planned and designed by Sohan Roy, its project designer. The Hollywood film 'Saint Dracula 3D' is all set for its market launch at the European Film Market, Berlin, from February 9 to 17, 2012. This movie holds the record for being ‘The first Indian production exclusively shot abroad’; ‘The first ever 3D movie on Dracula’ and ‘The second 3D movie from the United Kingdom’. -
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 ............................................................................................ -
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008 Title Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Author Keith Hennessey Brown Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 07 Issue Date Autumn 2008 Publication Date 12/12/2008 Editors Jack Burton & Jana Funke FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) Keith Hennessey Brown University of Edinburgh Italian horror and thriller auteur Dario Argento’s films are replete with images and themes of haunting: the solidified residue of malign, murderous thoughts sensed by the medium at the parapsychology conference which opens Profondo Rosso (1975) or the literal haunted houses inhabited by the witches Mater Tenebrarum, Suspiriorum and Lachrymarum in the horror films Suspiria (1977) and Inferno (1980). Above all, Argento’s gialli – i.e. Italian-style thrillers – from The Bird with the Crystal Plumage (1970) onwards present a succession of protagonists who find themselves haunted by some vital fragment of sound or image that they cannot quite recall, going up against antagonists whose inability to overcome the haunting legacy of some incident in their past compels them to kill again and again. -
First Line of Title
DREAMS ON THE SCREEN: AN EXPLORATION OF DARIO ARGENTO’S GREATEST NIGHTMARES by Matthew Bleacher A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of the Arts in Italian Studies Summer 2020 © 2020 Matthew Bleacher All Rights Reserved DREAMS ON THE SCREEN: AN EXPLORATION OF DARIO ARGENTO’S GREATEST NIGHTMARES by Matthew Bleacher Approved: __________________________________________________________ Giorgio Melloni, Ph.D. Co-Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Laura Salsini, Ph.D. Co-Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Meredith K. Ray, Ph.D. Interim Chair of the Department of the Languages, Literatures and Cultures Approved: __________________________________________________________ John Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College ACKNOWLEDGMENTS I would like to start by thanking the entire Italian Department at the University of Delaware and professors Laura Salsini and Giorgio Melloni in particular. Laura Salsini acted as editor in chief, kept me organized throughout the thesis writing process, and believed in me when I did not. Giorgio Melloni offered invaluable insights into Italian cinema, and I am especially grateful to him for stepping out of his comfort zone to watch and discuss horror films. I would also like to thank Meredith Ray for encouraging me to undertake this endeavor, which has been the highlight of my academic career. Thanks also to my family and friends for their various forms of support. -
RAI GROUP Reports and Financial Statements 2009
RAI GROUP Reports and financial statements 2009 Reports and financial statements at 31.12.2009 General contents 2 Corporate Bodies 3 Organizational Structure 5 Report on operations 11 Rai 21 Rai’s offering 31 TV Division 61 Radio Division 71 New Media Division 75 Commercial Division 83 Broadcasting and DTT Division 89 Parent Company’s financial and earnings position 105 Additional information 115 Recommendation to Shareholders 117 Rai SpA financial statements at 31 December 2009 189 Shareholders’ Meeting 191 Consolidated financial statements of the Rai Group at 31 December 2009 271 Financial statements of Subsidiaries 323 Corporate Directory 2 Corporate Bodies Board of Directors (until 25 March 2009) (from 25 March 2009) Chairman Claudio Petruccioli Paolo Garimberti Directors Giovanna Bianchi Clerici Giovanna Bianchi Clerici Angelo Maria Petroni Rodolfo De Laurentiis Nino Rizzo Nervo Alessio Gorla Carlo Rognoni Angelo Maria Petroni Marco Staderini Nino Rizzo Nervo Giuliano Urbani Guglielmo Rositani Giorgio Van Straten Antonio Verro Secretary Nicola Claudio Statutory Auditors Chairman Domenico Tudini Regular auditors Gennaro Ferrara Paolo Germani Alternate auditors Rosa Grimaccia Domenico Mastroianni (until 1 April 2009) (from 2 April 2009) General Manager Claudio Cappon Mauro Masi Independent auditors PricewaterhouseCoopers (1) (1) The firm has been engaged for the audit pursuant to Article 2409-bis, as approved by the shareholders’meeting on 16/07/2007. Corporate Bodies and Organizational Structure 3 Organizational Structure Ministry -
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CINERGIE il cinema e le altre arti 4 CRITICA Expressionist Use of Colour Palette and Set Design in Dario CINEFILIA Argento’s Suspiria (1977) E FESTIVAL STUDIES At the time of Suspiria’s release in the United States in 1978, the Soho Weekly News critic Rob Baker identifi ed Dario Argento’s new cinematic experience as a “horror fi lm (The Cabinet of Dr Caligari) laden with […] the self-conscious convoluted fairy tale Alice in Wonderland”1. Baker’s statement introduces two fundamental issues regarding the fi lm itself. Suspiria constitutes a step forward in Argento’s career both in terms of narrative and style. Firstly, the fi lm is the director’s fi rst foray into the realms of the wholly supernatural horror of occultism and witchcraft. Particularly, Argento chooses the narrative trope of the fairy tale to narrate the negative effects of black magic on people and the horrifi c consequences that may derive from opposing the occult power of witches. Secondly, the fi lm was inspired by the visual tropes of German Expressionism, such as Robert Wiene’s The Cabinet of Dr Caligari (Das Kabinett Des Dr. Caligari, 1920). Baker’s analysis, however, allows ample space to Suspiria’s fairy tale component by referencing Lewis Carroll’s novel but does not explore how and to what extent Suspiria may have been infl uenced by Wiene’s fi lm. Argento himself is very open about the importance of German Expressionism on his style of fi lmmaking even going so far as to state that: “il cinema espressionista tedesco […] penso sia molto presente nei miei fi lm […]. -
Horrorhound 33(C2c)(2012)(Re Em DCP)
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