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.
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。
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{"title":"Back Matter","authors":"","doi":"10.2307/j.ctv13842cg.17","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.17","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":"124259699","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}
Pub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0011
R. Curti
This chapter concentrates on the 10-page synopsis of “Soggetto cinematografico” and the 156-page script for the film The Atelier of Death (L'atelier della morte), which were both credited to Marcello Fondato and Giuseppe Barillà. It points out that the synopsis was printed on October 1, 1963, while the script is not dated and it's uncertain if it is indeed the definitive draft. It also explains how the screenplay is preceded by a list of the main characters with their physical and behavioural traits itemized, which nonetheless will not be developed or even ignored in the film. The chapter illustrates how Mario Bava simply followed the indications in the script for the film Blood and Black Lace (6 donne per l'assassino) without adding anything to the characters. It stresses that the idea of the comparison with mannequins, a leitmotiv that was maintained through the entire Blood and Black Lace, was absent in the script.
本章主要介绍《索格托电影》的10页梗概和电影《死亡工作室》(L'atelier della morte)的156页剧本，这两部电影的作者都是马塞洛·方达托和朱塞佩·巴里埃罗。它指出，大纲是在1963年10月1日印刷的，而剧本没有日期，也不确定它是否确实是最终的草稿。它还解释了剧本是如何在主要人物的身体和行为特征列表之前，尽管如此，这些特征在电影中不会被发展甚至忽略。这一章说明了马里奥·巴瓦是如何简单地遵循电影《血与黑丝带》(6 donne per l’assassino)剧本中的指示，而不给角色添加任何内容的。它强调，在整个《血与黑蕾丝》中贯穿始终的主题——与人体模型的比较，在剧本中是缺席的。
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This chapter talks about the introduction of the zoom lens in Italian cinema in the early 1960s, which had become widespread in the previous decade. It mentions the Zoomar company that enjoyed a virtual monopoly of the US market as the “zoom” became a common sight on American television by the early to mid-1950s. It discusses how the zoom was soon adopted by many productions in Europe for the saving of time and money it involved. The chapter describes the zoom that allowed directors to get rid of tracking shots and shift to close ups within the space of one shot, simplifying and speeding up the filming process. It emphasizes how the zoom had turned into a must-have accessory for any filmmaker by the mid-1960s.
{"title":"The Evil Eye","authors":"R. Curti","doi":"10.2307/j.ctv13842cg.11","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.11","url":null,"abstract":"This chapter talks about the introduction of the zoom lens in Italian cinema in the early 1960s, which had become widespread in the previous decade. It mentions the Zoomar company that enjoyed a virtual monopoly of the US market as the “zoom” became a common sight on American television by the early to mid-1950s. It discusses how the zoom was soon adopted by many productions in Europe for the saving of time and money it involved. The chapter describes the zoom that allowed directors to get rid of tracking shots and shift to close ups within the space of one shot, simplifying and speeding up the filming process. It emphasizes how the zoom had turned into a must-have accessory for any filmmaker by the mid-1960s.","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":"122625313","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}
This chapter explores the significance of German participation in the film Blood and Black Lace. It discusses how Italy had signed a co-production agreement with West Germany in 1962 that started the passage from period Gothic to a thriller set in the present day. It also explains the Italian film makers' intention of joining the successful thread of the German so-called “krimis,” the murder mysteries inspired by the works of Edgar Wallace and produced by Preben Philipsen's Rialto film company in 1959. The chapter focuses on the distinct and well-defined tradition of mystery in Italy. It describes the genre known as “giallo,” which had been very popular since 1929 when the Italian publishing house, Mondadori launched a new editorial series called the Yellow Books (I Libri Gialli).
本章探讨了德国参与电影《血与黑丝带》的意义。它讨论了意大利如何在1962年与西德签署了一项合作制作协议，从而开始了从哥特式时代到现代惊悚片的过渡。这也解释了意大利电影制片人想要加入德国所谓的“克里米斯”的成功路线的意图。克里米斯是由埃德加·华莱士的作品启发，由Preben Philipsen的Rialto电影公司于1959年制作的谋杀悬疑片。这一章的重点是意大利独特而明确的神秘传统。它描述了一种被称为“giallo”的类型，这种类型自1929年以来一直非常流行，当时意大利出版社蒙达多利(Mondadori)推出了一种名为“黄书”(I Libri Gialli)的新社论系列。
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Pub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0007
R. Curti
This chapter describes how the murderer in the film Blood and Black Lace (6 donne per l'assassino) became an icon through its clothing, which included a raincoat, hat, and black gloves. It explains how the outfit of the murderer in the film, like a haute couture model, will be copied over and over in forthcoming gialli. The chapter analyzes the multiple literary and filmic influences identified in Mario Bava's faceless murderer and Edgar Wallace's novel White Face to the German krimis. It mentions faceless figures that populate Man Ray's surrealist short film Les Mystères du château de Dé in 1929, which was considered the most outstanding and surprising predecessors on iconic images of murderers. It also analyzes how masked murderers in films are more than a gimmick to hide the identity but emphasizes an almost feral attribute due to its muteness.
这一章描述了电影《血与黑蕾丝》(6 donne per l’assassino)中的凶手是如何通过雨衣、帽子和手套等服装成为偶像的。它解释了电影中凶手的服装如何像高级时装模特一样，将在即将到来的gialli中被一遍又一遍地复制。本章分析了马里奥·巴瓦的《无面杀手》和埃德加·华莱士的小说《白脸致德国克里米斯》对文学和电影的多重影响。它提到了1929年曼·雷(Man Ray)的超现实主义短片《神秘人物》(Les mystires du ch teau de d)中的无名人物，这部电影被认为是杀人犯标志性形象最杰出、最令人惊讶的先驱。文章还分析了电影中的蒙面杀人犯不仅仅是隐藏身份的噱头，而是因为沉默而强调了一种近乎野蛮的属性。
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This chapter looks at the popularity of Mario Bava, which was already a prestigious name in the context of the genre cinema in Italy and abroad. It talks about Bava that was mentioned on the cover of the critical anthology Film 1964 that was curated by Vittorio Spinazzola and linked by the significant subtitle of “mass movies and avant-garde cinema.” It also points out why the film Blood and Black Lace (6 donne per l'assassino) was not a commercial success in Italy despite the critics' interest on Bava and the commercial potential of the story. The chapter discusses critics that were content to concede Blood and Black Lace's stylistic qualities and its exquisite tricks of the trade. It looks at the newspaper La Stampa's review about how the film dispenses thrills and emotions by way of the director's excellent technique than with the shaky gimmicks of a clumsy script.
本章着眼于马里奥·巴瓦的受欢迎程度，在意大利和国外的类型电影中，马里奥·巴瓦已经是一个享有盛誉的名字。它谈到了巴瓦，在由维托里奥·斯皮纳佐拉策划的评论选集《电影1964》的封面上提到了巴瓦，并以“大众电影和前卫电影”的重要副标题联系在一起。它也指出了为什么电影《血与黑蕾丝》(6 donne per l’assassino)在意大利没有取得商业上的成功，尽管评论家对巴瓦很感兴趣，而且这个故事有商业潜力。这一章讨论了那些满足于承认《血与黑蕾丝》的风格特质和精湛技巧的评论家。《新闻报》(La Stampa)评论说，这部电影是如何通过导演出色的技巧，而不是拙劣的剧本中摇摇欲坠的噱头，来传递惊险和情感的。
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Pub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0001
R. Curti
This chapter provides an overview of Mario Bava's film Blood and Black Lace (6 donne per l'assassino) in 1964. It mentions critics and commentators of the Blood and Black Lace movie who were spellbound by its fascinating visual analogy that links the opening and final images. It also looks into analyzations of the film that proposes the most disparate interpretations. The chapter discusses Bava's demystifying explanation of his movie in an interview published in 1979, just one year before his death. It talks about the significance of the opening scene of Blood and Black Lace and interprets the connection between the signboard swinging at the beginning, during a rainstorm, and the telephone falling on the ground.
本章概述了1964年马里奥·巴瓦的电影《血与黑丝带》(6 donne per l’assassino)。它提到了电影《血与黑蕾丝》的评论家和评论员，他们被电影开头和结尾令人着迷的视觉类比所吸引。它还研究了对电影的分析，提出了最不同的解释。这一章讨论了巴瓦在1979年发表的一次采访中对他的电影的揭开神秘面纱的解释，就在他去世前一年。讨论了《血与黑蕾丝》开场的意义，解读了开头在暴雨中摇摆的广告牌与掉在地上的电话之间的联系。
{"title":"Prologue (and Epilogue)","authors":"R. Curti","doi":"10.3828/LIVERPOOL/9781911325932.003.0001","DOIUrl":"https://doi.org/10.3828/LIVERPOOL/9781911325932.003.0001","url":null,"abstract":"This chapter provides an overview of Mario Bava's film Blood and Black Lace (6 donne per l'assassino) in 1964. It mentions critics and commentators of the Blood and Black Lace movie who were spellbound by its fascinating visual analogy that links the opening and final images. It also looks into analyzations of the film that proposes the most disparate interpretations. The chapter discusses Bava's demystifying explanation of his movie in an interview published in 1979, just one year before his death. It talks about the significance of the opening scene of Blood and Black Lace and interprets the connection between the signboard swinging at the beginning, during a rainstorm, and the telephone falling on the ground.","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":"126505923","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}
This chapter recounts Mario Bava's seventh official solo feature film as a director, a present-day thriller set in the world of high fashion titled The Atelier of Death (L'atelier della morte). It also mentions Bava's two other Gothic horror movies released in Italy in the summer of 1963 that were destined primarily for foreign markets, especially in America. It discusses I tre volti della paura starring Boris Karloff and Mark Damon, and La frusta e il corpo with Christopher Lee and Daliah Lavi. The chapter describes Bava's debut film La maschera del demonio in 1960, which distributed overseas by American International Pictures under the title Black Sunday. It points out how the Italian film industry had increasingly been involved in bilateral and multinational co-productions since the first agreement signed with France in 1949.
本章讲述了马里奥·巴瓦作为导演的第七部官方个人故事片，一部以现代高级时装为背景的惊悚片，名为《死亡的工作室》(L'atelier della morte)。它还提到了巴瓦1963年夏天在意大利上映的另外两部哥特式恐怖电影，这两部电影主要面向外国市场，尤其是美国市场。它讨论了由鲍里斯·卡洛夫和马克·达蒙主演的《吸血鬼日记》，以及克里斯托弗·李和达丽娅·拉维主演的《吸血鬼日记》。这一章描述了1960年巴瓦的处女作《恶魔之师》(La maschera del demonio)，这部电影由美国国际影业(American International Pictures)以《黑色星期日》(Black Sunday)的名字在海外发行。报告指出，自1949年与法国签署第一份协议以来，意大利电影业如何越来越多地参与双边和跨国合作制作。
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Pub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0010
R. Curti
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.
本章重点介绍马里奥·巴瓦的《血与黑花边》(6 donne per l’assassino)，这部电影在意大利被宣传为一部彻头彻尾的侦探电影。它争论了为什么这部电影不应该被认为是一部侦探小说，根据那个时期的规则，比如它缺乏喜剧效果和英国的背景。这也解释了《血与黑花边》缺乏适当的贯穿线的侦查，其中每个受害者和谋杀都是一个单独的部分和一个潜在的独立的小叙述的对象。这一章描述了电影《血与黑蕾丝》在片头最初介绍的角色中非常“稀薄”的人为因素。它指出，《血与黑蕾丝》是一部关于犯罪故事的电影，缺乏强有力的侦探角色。
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