{"title":"制作与接收","authors":"David Evans-Powell","doi":"10.2307/j.ctt20ks1sb.9","DOIUrl":null,"url":null,"abstract":"This chapter outlines the film’s production, release and reception. It includes brief biographies for the key creatives (Piers Haggard, director; Robert Wynne-Simmons, writer; Marc Wilkinson, composer; Dick Bush, Director of Photography), a detailed history on the film’s inception and production, an account of the film’s release and its immediate reception, and a summary of its home release and its emergent cult status. This chapter concludes with a consideration of the film’s locations, the time setting for the film (an approximate early 18th Century) and a short discussion on the influence of Ingmar Bergman’s films on Satan’s Claw’s aesthetic and themes.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"91 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Production and Reception\",\"authors\":\"David Evans-Powell\",\"doi\":\"10.2307/j.ctt20ks1sb.9\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter outlines the film’s production, release and reception. It includes brief biographies for the key creatives (Piers Haggard, director; Robert Wynne-Simmons, writer; Marc Wilkinson, composer; Dick Bush, Director of Photography), a detailed history on the film’s inception and production, an account of the film’s release and its immediate reception, and a summary of its home release and its emergent cult status. This chapter concludes with a consideration of the film’s locations, the time setting for the film (an approximate early 18th Century) and a short discussion on the influence of Ingmar Bergman’s films on Satan’s Claw’s aesthetic and themes.\",\"PeriodicalId\":340779,\"journal\":{\"name\":\"The Blood on Satan's Claw\",\"volume\":\"91 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-01-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Blood on Satan's Claw\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2307/j.ctt20ks1sb.9\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Blood on Satan's Claw","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctt20ks1sb.9","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This chapter outlines the film’s production, release and reception. It includes brief biographies for the key creatives (Piers Haggard, director; Robert Wynne-Simmons, writer; Marc Wilkinson, composer; Dick Bush, Director of Photography), a detailed history on the film’s inception and production, an account of the film’s release and its immediate reception, and a summary of its home release and its emergent cult status. This chapter concludes with a consideration of the film’s locations, the time setting for the film (an approximate early 18th Century) and a short discussion on the influence of Ingmar Bergman’s films on Satan’s Claw’s aesthetic and themes.