红色电话

R. Curti
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引用次数: 0

摘要

这一章讨论的电影血与黑花边(6 donne per l’assassino)已经成为一个邪教电影多年来。它提到有多少年轻的影迷在20世纪80年代通过佩德罗(Pedro) 1986年的《斗牛士》(Matador)电影的开头片段了解了这部电影Almodóvar。它还通过像Almodóvar这样发人深省的导演的过滤,讨论了类型电影的成果,他总结了色情场景中最明显的元素,并通过主角的性唤起进行了矛盾的评论。这一章描述了《血与黑色蕾丝》对外国电影的影响,比如1978年约翰·卡彭特的电影《万圣节》,将马里奥·巴瓦这个面无表情、无处不在、沉默的刺客重新塑造成一个新的偶像。它还引用了1984年的电影《猛鬼街》,其中一名凶手戴着致命的剃须刀片手套,让人想起巴瓦电影中出现的尖刺武器。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Red Telephone
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.
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