{"title":"The Red Telephone","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.15","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.15","url":null,"abstract":"This chapter discusses the film Blood and Black Lace (6 donne per l'assassino) that has become a cult movie over the years. It mentions how many young cinephiles became aware of the film in the 1980s via the opening sequence of the Matador film in 1986 by Pedro Almodóvar. It also talks about the fruition of a genre film through the filter of a thought-provoking auteur such as Almodóvar, who summed up the most obvious elements of an erotic mise-en scène of death with a paradoxical commentary through the protagonist's sexual arousal. The chapter describes the influence of Blood and Black Lace on foreign cinema, such as the film “Halloween” in 1978 by John Carpenter that reinvents Mario Bava's expressionless, ubiquitous, and mute assassin into a new icon. It also cites the 1984 film A Nightmare on Elm Street that features a murderer wearing a lethal razorblade glove which recalls the spiked weapon seen in Bava's film.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132449340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.2307/j.ctv13842cg.17","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.17","url":null,"abstract":"","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124259699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blood and Black LacePub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0011
R. Curti
{"title":"From the Page to the Screen","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0011","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0011","url":null,"abstract":"This chapter concentrates on the 10-page synopsis of “Soggetto cinematografico” and the 156-page script for the film The Atelier of Death (L'atelier della morte), which were both credited to Marcello Fondato and Giuseppe Barillà. It points out that the synopsis was printed on October 1, 1963, while the script is not dated and it's uncertain if it is indeed the definitive draft. It also explains how the screenplay is preceded by a list of the main characters with their physical and behavioural traits itemized, which nonetheless will not be developed or even ignored in the film. The chapter illustrates how Mario Bava simply followed the indications in the script for the film Blood and Black Lace (6 donne per l'assassino) without adding anything to the characters. It stresses that the idea of the comparison with mannequins, a leitmotiv that was maintained through the entire Blood and Black Lace, was absent in the script.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131659919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Evil Eye","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.11","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.11","url":null,"abstract":"This chapter talks about the introduction of the zoom lens in Italian cinema in the early 1960s, which had become widespread in the previous decade. It mentions the Zoomar company that enjoyed a virtual monopoly of the US market as the “zoom” became a common sight on American television by the early to mid-1950s. It discusses how the zoom was soon adopted by many productions in Europe for the saving of time and money it involved. The chapter describes the zoom that allowed directors to get rid of tracking shots and shift to close ups within the space of one shot, simplifying and speeding up the filming process. It emphasizes how the zoom had turned into a must-have accessory for any filmmaker by the mid-1960s.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122625313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Under the Sign of the Giallo","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.5","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.5","url":null,"abstract":"This chapter explores the significance of German participation in the film Blood and Black Lace. It discusses how Italy had signed a co-production agreement with West Germany in 1962 that started the passage from period Gothic to a thriller set in the present day. It also explains the Italian film makers' intention of joining the successful thread of the German so-called “krimis,” the murder mysteries inspired by the works of Edgar Wallace and produced by Preben Philipsen's Rialto film company in 1959. The chapter focuses on the distinct and well-defined tradition of mystery in Italy. It describes the genre known as “giallo,” which had been very popular since 1929 when the Italian publishing house, Mondadori launched a new editorial series called the Yellow Books (I Libri Gialli).","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121221432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blood and Black LacePub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0007
R. Curti
{"title":"Dressed to Kill","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0007","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0007","url":null,"abstract":"This chapter describes how the murderer in the film Blood and Black Lace (6 donne per l'assassino) became an icon through its clothing, which included a raincoat, hat, and black gloves. It explains how the outfit of the murderer in the film, like a haute couture model, will be copied over and over in forthcoming gialli. The chapter analyzes the multiple literary and filmic influences identified in Mario Bava's faceless murderer and Edgar Wallace's novel White Face to the German krimis. It mentions faceless figures that populate Man Ray's surrealist short film Les Mystères du château de Dé in 1929, which was considered the most outstanding and surprising predecessors on iconic images of murderers. It also analyzes how masked murderers in films are more than a gimmick to hide the identity but emphasizes an almost feral attribute due to its muteness.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129347241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Celibate Founder","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.14","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.14","url":null,"abstract":"This chapter looks at the popularity of Mario Bava, which was already a prestigious name in the context of the genre cinema in Italy and abroad. It talks about Bava that was mentioned on the cover of the critical anthology Film 1964 that was curated by Vittorio Spinazzola and linked by the significant subtitle of “mass movies and avant-garde cinema.” It also points out why the film Blood and Black Lace (6 donne per l'assassino) was not a commercial success in Italy despite the critics' interest on Bava and the commercial potential of the story. The chapter discusses critics that were content to concede Blood and Black Lace's stylistic qualities and its exquisite tricks of the trade. It looks at the newspaper La Stampa's review about how the film dispenses thrills and emotions by way of the director's excellent technique than with the shaky gimmicks of a clumsy script.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116584522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blood and Black LacePub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0001
R. Curti
{"title":"Prologue (and Epilogue)","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0001","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0001","url":null,"abstract":"This chapter provides an overview of Mario Bava's film Blood and Black Lace (6 donne per l'assassino) in 1964. It mentions critics and commentators of the Blood and Black Lace movie who were spellbound by its fascinating visual analogy that links the opening and final images. It also looks into analyzations of the film that proposes the most disparate interpretations. The chapter discusses Bava's demystifying explanation of his movie in an interview published in 1979, just one year before his death. It talks about the significance of the opening scene of Blood and Black Lace and interprets the connection between the signboard swinging at the beginning, during a rainstorm, and the telephone falling on the ground.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126505923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bava Goes Fashion","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.4","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.4","url":null,"abstract":"This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131679390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Blood and Black LacePub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0010
R. Curti
{"title":"The Rules of the Game","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0010","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0010","url":null,"abstract":"This chapter highlights Mario Bava's Blood and Black Lace (6 donne per l'assassino) that was advertised in Italy as an out-and-out whodunnit type of film. It argues why the film should not be considered as a whodunnit in accordance with the rules of the period, such as its lack of comic relief and the British setting. It also explains the Blood and Black Lace's lack of a proper through-line of detection, in which each victim and murder are the object of a separate section and a potentially self-contained mini-narrative. The chapter describes the very “thin” human factor in the film Blood and Black Lace's initial introduction of characters during the opening credits. It points out how Blood and Black Lace was a film about a crime story that lacked a strong detective figure.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133791806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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