{"title":"The Guilty Spectator: Sexuality, Age, Crime and Dario Argento’s Deep Red (1975)","authors":"Jim Carter","doi":"10.3998/fc.5697","DOIUrl":null,"url":null,"abstract":"This article performs a close reading of Dario Argento’s Deep Red (1975) together with a speculative reading of how the film seems to address its spectator and what that spectator might think about the film. It argues that Argento’s murder mystery invests in the contemporary association between homosexuality and crime to concentrate suspicion in the character of Carlo, who is innocent. The film also exploits the disassociation of old age from crime to divert attention from the character of Martha, who is guilty. The double revelation of Carlo’s innocence and Martha’s guilt effects a sudden foregrounding of the spectator’s own flawed process. Deep Red does not simply unmask the murderer—it unmasks the spectator.1","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"FILM CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3998/fc.5697","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
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Abstract
This article performs a close reading of Dario Argento’s Deep Red (1975) together with a speculative reading of how the film seems to address its spectator and what that spectator might think about the film. It argues that Argento’s murder mystery invests in the contemporary association between homosexuality and crime to concentrate suspicion in the character of Carlo, who is innocent. The film also exploits the disassociation of old age from crime to divert attention from the character of Martha, who is guilty. The double revelation of Carlo’s innocence and Martha’s guilt effects a sudden foregrounding of the spectator’s own flawed process. Deep Red does not simply unmask the murderer—it unmasks the spectator.1
期刊介绍：
Film Criticism is a peer-reviewed, online publication whose aim is to bring together scholarship in the field of cinema and media studies in order to present the finest work in this area, foregrounding textual criticism as a primary value. Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. With over 40 years of continuous publication, Film Criticism is the third oldest academic film journal in the United States. We have published work by such international scholars as Dudley Andrew, David Bordwell, David Cook, Andrew Horton, Ann Kaplan, Marcia Landy, Peter Lehman, Janet Staiger, and Robin Wood. Equally important, FC continues to present work from emerging generations of film and media scholars representing multiple critical, cultural and theoretical perspectives. Film Criticism is an open access academic journal that allows readers to read, download, copy, distribute, print, search, and link to the full texts of articles, or use them for any other lawful purpose except where otherwise noted.
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