scholarly journals La danza, una narrativa corpórea del horror, en Suspiria de Luca Guadagnino

2019 ◽  
Vol 2 (19) ◽  
pp. 351
Author(s):  
Patricia Úbeda Sánchez
Keyword(s):  
Dario Argento

El siguiente artículo pretende analizar la danza en la última película de Luca Guadagnino, Suspiria, una versión extendida del clásico del terror, Suspiria, de Dario Argento. En Suspiria de Guadagnino la danza va a cobrar un papel fundamental, ya que el cuerpo en movimiento es el soporte sobre el cual no solo se inscribe la acción dramática, sino también lo misterioso y lo horrible. Para ello, en este trabajo se va a estudiar el cuerpo desde la filosofía posestructuralista y el psicoanálisis para comprender los distintos mecanismos por los que se construye el relato corpóreo no solo del horror sino del poder. La danza se convierte en un personaje invisible, toma poder en los cuerpos de las bailarinas hasta llevarlos a límites incompresibles. Supone un regreso a los orígenes pre-aristotélicos, en que la danza era la unión con la naturaleza, el medio donde los individuos interactúan y exteriorizan sus emociones. En la película de Guadagnino comprobaremos cómo la danza transforma el espacio narrativo y el espacio cinematográfico, dejando herido al espectador y sin ninguna herramienta para defenderse contra el horror en la película de Guadagnino.

Appropriating the abject: Witchcraft in Dario Argento and Daria Nicolodi’s Suspiria (1977) and David Kajganich and Luca Guadagnino’s 2018 remake

2020 ◽  
Vol 18 (1) ◽  
pp. 43-59
Author(s):  
Luke Lewin Davies
Keyword(s):  
Identity Formation ◽  
Horror Film ◽  
Religious Ritual ◽  
The Witch ◽  
Dario Argento

This article explores representations of witchcraft in relation to Julia Kristeva’s 1980 essay Powers of Horror. It begins by investigating the genesis of Dario Argento and Daria Nicolodi’s depiction of witchcraft in their 1977 horror film Suspiria, drawing on historical studies of witchcraft by Ronald Hutton and Marion Gibson. In particular, it examines the characterization of the witches’ coven as an all-female, all-powerful death cult ‐ before proposing that Kristeva’s essay on the abject can be seen to explain this specific conceptualization, in line with Barbara Creed’s analysis of how horror film has inherited the role of ‘purifying’ the abject from religious ritual. The second half of this article then focuses on David Kajganich and Luca Guadagnino’s 2018 remake of Suspiria, reflecting on how the later film can be seen to attempt to redeem the association between witchcraft and abjectness. In doing so, this article reflects on how the attempt to rescue the witch while maintaining an association with the abject is contiguous with other contemporary depictions of witchcraft. It is proposed that such efforts amount to a Foucauldian attempt at a ‘reverse discourse’ celebrating the subversive potential of an initially derogatory identity formation ‐ but that Kristeva’s writing points to the limitations of appropriating the abject in this way.

The Music of Il Fantasma dell’Opera by Dario Argento

2018 ◽  
Vol 34 (2-3) ◽  
pp. 221-241
Author(s):  
Roberto Calabretto
Keyword(s):  
Dario Argento

Interviews with Dario Argento

2017 ◽  
Author(s):  
L. Andrew Cooper
Keyword(s):  
Visual Memory ◽  
Horror Films ◽  
The Other ◽  
The World ◽  
The Future ◽  
The Subject ◽  
Genre Films ◽  
Dario Argento ◽  
Early Influences

This essay presents two interviews with Dario Argento, one conducted by Élie Castiel and the other by Stephane Derderian. In the Castiel interview, Argento talks about early influences on his career; his approach to every film; eroticism and sadism as well as the question of voyeurism in his work; the importance of objects in the genre films that he has made; and the future of horror films. In the Derderian interview, Argento shares his thoughts on the bloodiness in Deep Red; what the subject of visual memory that often comes up in his films such as The Bird with the Crystal Plumage represent for him; the place of homosexuality in his films; why people who see his films don't look for a suspect as much as they look for a truth; the psychology of the murderer vs. the psychology of the investigator in his films; and the presence of the world of painting in Deep Red, The Bird with the Crystal Plumage, and The Stendhal Syndrome.

Dario Argento

2012 ◽  
Author(s):  
L. Andrew Cooper
Keyword(s):  
Detective Fiction ◽  
Edgar Allan Poe ◽  
Visual Narrative ◽  
Marquis De Sade ◽  
Thomas De Quincey ◽  
Italian Film ◽  
Mystery Novels ◽  
Forms Of Violence ◽  
Political Norms ◽  
Dario Argento

Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. The book uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, the book places Argento in a tradition of aestheticized horror that includes Marquis de Sade, Thomas De Quincey, Edgar Allan Poe, and Alfred Hitchcock. It reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.

scholarly journals Capítulo 7. Los ecos del caníbal: homenajes estilísticos y pilares cinematográficos de Hannibal.

2018 ◽  
pp. 139-155
Author(s):  
Raquel Crisóstomo
Keyword(s):  
David Cronenberg ◽  
Thomas Harris ◽  
Dario Argento

En 2013 Bryan Fuller propuso a la NBC llevar a la pequeña pantalla una nueva adaptación del personaje de Thomas Harris, Hannibal, serie de televisión que recogería un gran éxito de crítica y crearía un fiel fandom. La serie destaca por su composición visual, algo acorde con el interés de Fuller por la estética de la imagen fílmica. En Hannibal se reflejan otras imágenes cinematográficas: el ambiente pesadillesco que habita en el corazón de Hannibal tiene mucho en común con el de la producción de Lynch; el tratamiento del cuerpo está influenciado por la dismorfia corporal característica de David Cronenberg; y la influencia de la plasticidad de los maestros italianos del giallo es algo que el espectador de Hannibal detecta con rapidez. En la serie laten las influencias de todos ellos, así como de Hitchcock, Dario Argento y Kubrick entre otros, tal como se desgranará en este capítulo.Palabras clave: Hannibal, Argento, Cronenberg, Lynch, cine.

Do suspense ao êxtase: paradigmas da trilha musical no filme de horror em Prelúdio Para Matar (1975)

Temática ◽  
2018 ◽  
Vol 14 (7) ◽  
Author(s):  
Gabriel Bueno Lisboa
Keyword(s):  
Dario Argento

Este artigo procura revelar esquemas convencionais e subversões no uso da trilha musical num filme de horror propostas por Dario Argento em seu filme Prelúdio Para Matar (1975), que ajudaram a formalizar um estilo sonoro próprio às características expressionistas do gênero giallo como também a difundiram uso de gêneros da música popular com finalidade não diegética em trilhas sonoras originais. Será realizada a decupagem de algumas cenas levando em consideração a relação entre as músicas e o conteúdo imagético a partir de noções dos usos e qualidades do som no cinema e da trilha musical, elaboradas por estudiosos como Michel Chion, Claudia Gorbman e Rodrigo Carreiro.Palavras-chave: Giallo. Trilha sonora. Cinema italiano. Cinema de gênero.

Broken Mirrors/Broken Minds: The Dark Dreams of Dario Argento

1987 ◽  
Vol 41 (2) ◽  
pp. 2-13
Author(s):  
Maitland McDonagh
Keyword(s):  
Dario Argento

The Horror of Progressive rock: Goblin and Horror Soundtracks

2016 ◽  
pp. 175-190
Author(s):  
Craig Hatch
Keyword(s):  
Hip Hop ◽  
Horror Films ◽  
Progressive Rock ◽  
Vital Component ◽  
Musique Concrete ◽  
Dario Argento

Audio is perhaps the most vital component in the construction of horror films; from the child’s lullaby in Profondo rosso/Deep Red (Dario Argento, 1975), Bernard Herrmann’s use of stingers in Psycho (Alfred Hitchcock, 1960), to the musique concrète of The Texas Chainsaw Massacre (Tobe Hooper, 1974), the canon of great horror films are inextricably tied and indebted to their soundtracks. And yet despite the importance of this audio-visual synchronicity, Italian horror soundtracks in particular have endured not only as part of the films they were made to complement, but also independently of them. With Goblin embarking on their first US tour as a band as late as 2013, to being sampled by contemporary electronic and hip hop acts such as Justice and Madlib, the work of Goblin and other composers such as Fabio Frizzi has received a continued level of interest both with and without the context of their accompanying images.

Domestic Films Made for Export: Modes of Production of the 1960S Italian Horror Film

2016 ◽  
pp. 30-44 ◽  
Author(s):  
Francesco Di Chiara
Keyword(s):  
Horror Film ◽  
Italian Cinema ◽  
Lasting Effect ◽  
International Audience ◽  
The 1960S ◽  
International Success ◽  
Dario Argento

Along with the Italian Western, but with an arguably more lasting effect, Italian horror cinema of the 1960s has contributed significantly to the branding of European genre cinema for an international audience. As with Italian cinema a decade earlier, the success of Italian horror film was due at the same time to its compatibility with other, foreign genre products – they could fit in a double bill with an American International Pictures release, for instance – and their perceived ‘otherness’ in respect of the Hollywood standards. In fact, because of their graphic violence, eroticism and visual flair, these films soon gained a cult following outside of Italy, and especially throughout the 1970s with the increasing international success of Italian giallo and with the emergence of horror cult directors like Dario Argento and Lucio Fulci.

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