Blood and Black Lace最新文献

{"title":"A World of Mannequins","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.8","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.8","url":null,"abstract":"This chapter looks into Mario Bava's aesthetic sensibility and synthesis of the stylistic and thematic thread that underlies the film Blood and Black Lace (6 donne per l'assassino). It explains how viewers of the film associated the gimmick of using mannequins with the opening pages of Gialli Mondadori, which include a list of characters and their qualification in order to give the reader a “human map” on which to rely when reading. It also discusses how the same concept of a human map is reinvented in the film Blood and Black Lace in a visual key with a surrealistic effect through the use of mannequins. The chapter analyzes the poses of mannequins that are considered artificial, enigmatic, and disturbing. It highlights how mannequins reiterate the initial equation between men and anthropomorphic objects, in which mannequins provide cautionary shadows for actors and actors are sometimes caught in the act of making the same gesture as the mannequins.","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":"128428744","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":"On Murder Considered as One of the Fine Arts","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0005","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0005","url":null,"abstract":"This chapter analyzes the baroque complexity of the murder scenes in Blood and Black Lace (6 donne per l'assassino). It explains how the film was modelled after Alfred Hitchcock, who had always given great importance to elaborate murder sequences in his works. It also mentions the film Caccia all'uomo that was directed by Mario Bava's friend, Riccardo Freda, which was a stunning anticipation of what would be found in the forthcoming gialli. The chapter talks about Bava's Blood and Black Lace that reprised the emphasis on the crescendo which precedes death and multiplied it while amplifying the atrocity of the killing itself. It describes the murder sequence of the film that was characterised by a well-defined environment and has its own specificity regarding the characteristics of the victim, such as the ways of her dispatching and the murder weapon.","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":"124562128","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":"Something To Do With Women, Something To Do With Death","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.6","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.6","url":null,"abstract":"This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour from the story, eliminating the annoying comic interludes that plagued the film La ragazza che sapeva troppo. It also investigates how the makers of Blood and Black Lace drew from other sources and enhanced the Gothic mood that characterised the Edgar Wallace Krimis cycle. The chapter describes the ways in which violence in films is directed towards the female body, such as the opening sequence of the film La maschera del demonio where the character Asa is tortured with the titular spiked mask and burned at the stake. It discusses how horror underlined a radical change in the erotic imagery of the average Italian.","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":"124401870","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 Matter of Style","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.10","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.10","url":null,"abstract":"This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of Eastmancolor for the saturated colour compositions of his Gothic movies that drove the colour consultants on set to distraction. It also illustrates the context in which the characters moved in Blood and Black that ended up looking like a non-place, both baroque and abstract, that brought together elements typical of the Gothic genre. The chapter describes Blood and Black Lace's labyrinthine atelier of death as a modern-day subsidiary of Gothic's castles, with crypt, secret passages, curtains fluttering in the night, and mannequins instead of suits of armour. It also looks into the insistence of shapes that move with mechanical regularity that represented Blood and Black Lace's microcosm, where the distinction between human and nonhuman becomes uncertain, fleeting, and deceptive.","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":"132343029","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":"Prologue (and Epilogue)","authors":"N. S. Nordholt, J. Opdam","doi":"10.2307/j.ctv13842cg.3","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.3","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":"130027454","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 Rules of the Game","authors":"Jorge Sader Filho","doi":"10.2307/j.ctv13842cg.12","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.12","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":"2014-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127467376","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":"From the Page to the Screen","authors":"Melanie K. Hundley","doi":"10.2307/j.ctv13842cg.13","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.13","url":null,"abstract":"","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2007-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116021584","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":"On Murder Considered as One of the Fine Arts","authors":"R. Snyder","doi":"10.2307/j.ctv13842cg.7","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.7","url":null,"abstract":"In his 1854 \"Postscript,\" the last of three essays collectively titled \"On murder Considered as One of the Fine Arts,\" Thomas De Quincey uses the iconography of doors and thresholds to explore the dynamics of transgressive violence. Such liminal sites become metonymic analogues for his conception of masculinized agency, specifically in response to what in \"The Household Wreck\" (1838) he calls \"the mighty Juggernaut of social life.\" They also function tropologically to develop his aesthetic of \"dark\" sublimity, as set forth in his well-known reflection, \"On the Knocking at the Gate in Macbeth\" (1823). In dramatizing the murderer John Williams' 1812 invasion of two homes in London's East End, De Quincey concentrates attention on moments of \"suspersion,\" wherein we witness not simply the breaching of conventional boundaries between public and private spheres, but also the blurring of cultural constructions of value associated with them. Williams' depredations thus represent an ambivalent fetishizing of power that is inseparable from De Quincey's apprehensions regarding the \"colossal pace of advance\" in mid-Victorian England. Through its tracing of these tensions as figurative interspaces, the \"Postscript\" can be read as addressing certain symptoms and impasses of modernity, not least the simulacral nature of the \"self.\" ********** Admong the topoi that figure prominently in Thomas De Quincey's iscursive prose as well as his Gothic fiction are doors, gates, and thresholds. Such iconography in the latter genre, of course, should come as no surprise. As numerous studies have shown, these tropes can be construed as boundary markers between \"inner\" and \"outer,\" \"self\" and \"other,\" or \"private\" and \"public,\" often signifying the flexible interstices behind which lurks the Freudian \"Uncanny.\" Hot all scholars, however, have been disposed to read these spatial metaphors as adumbrating some hidden or repressed interiority. In The Coherence of Gothic Conventions, for example, Eve Kosofsky Sedgwick draws attention to how the psychoanalytic model privileges the idea of depth while devaluing that of surface, leaving unexplored the exchanges that occur in terms of contiguity (11-12). (1) Few would deny, I think, that De Quincey's oeuvre is rife with such architectural planes, or what the present essay will describe as liminal interspaces charged with the threat of transgressive violence. In \"On Murder Considered as One of the Fine Arts,\" I shall argue, these sites become metonymic analogues for his conception of masculinized agency, specifically in relation to what in an 1838 Gothic novella titled \"The Household Wreck\" he calls \"the mighty Juggernaut of social life\" (12:159). (2) An appropriate text with which to begin is the familiar reflection \"On the Knocking at the Gate in Macbeth\" (1823), included with several of De Quincey's extended papers on literary theory in David Masson's fourteen-volume edition of The Collected Writings. Anticipating twentieth-century","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2001-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124416125","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":"Dressed to Kill","authors":"Campbell Black, B. D. Palma","doi":"10.2307/j.ctv13842cg.9","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.9","url":null,"abstract":"","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1980-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128900423","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}