This chapter looks into Mario Bava's aesthetic sensibility and synthesis of the stylistic and thematic thread that underlies the film Blood and Black Lace (6 donne per l'assassino). It explains how viewers of the film associated the gimmick of using mannequins with the opening pages of Gialli Mondadori, which include a list of characters and their qualification in order to give the reader a “human map” on which to rely when reading. It also discusses how the same concept of a human map is reinvented in the film Blood and Black Lace in a visual key with a surrealistic effect through the use of mannequins. The chapter analyzes the poses of mannequins that are considered artificial, enigmatic, and disturbing. It highlights how mannequins reiterate the initial equation between men and anthropomorphic objects, in which mannequins provide cautionary shadows for actors and actors are sometimes caught in the act of making the same gesture as the mannequins.
本章探讨马里奥·巴瓦的审美敏感性，以及对电影《血与黑蕾丝》(6 donne per l’assassino)风格和主题线索的综合。它解释了电影的观众如何将使用人体模型的噱头与《Gialli Mondadori》的开篇联系起来，其中包括人物名单和他们的资格，以便为读者提供阅读时依赖的“人类地图”。本文还讨论了在电影《血与黑蕾丝》中，人类地图的相同概念是如何通过人体模型的使用，以一种具有超现实主义效果的视觉方式被重新创造出来的。这一章分析了人体模型的姿势，这些姿势被认为是人造的，神秘的，令人不安的。它强调了人体模型是如何重申人与拟人化物体之间最初的等式的，在这个等式中，人体模型为演员提供了警示性的阴影，而演员有时会被发现做出与人体模型相同的手势。
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Pub Date : 2020-01-31DOI: 10.3828/LIVERPOOL/9781911325932.003.0005
R. Curti
This chapter analyzes the baroque complexity of the murder scenes in Blood and Black Lace (6 donne per l'assassino). It explains how the film was modelled after Alfred Hitchcock, who had always given great importance to elaborate murder sequences in his works. It also mentions the film Caccia all'uomo that was directed by Mario Bava's friend, Riccardo Freda, which was a stunning anticipation of what would be found in the forthcoming gialli. The chapter talks about Bava's Blood and Black Lace that reprised the emphasis on the crescendo which precedes death and multiplied it while amplifying the atrocity of the killing itself. It describes the murder sequence of the film that was characterised by a well-defined environment and has its own specificity regarding the characteristics of the victim, such as the ways of her dispatching and the murder weapon.
本章分析了《血与黑丝带》(6 donne per l’assassino)中巴洛克式的复杂谋杀场景。它解释了这部电影是如何模仿阿尔弗雷德·希区柯克的，希区柯克在他的作品中总是非常重视精心设计的谋杀镜头。它还提到了由马里奥·巴瓦的朋友里卡多·弗雷达执导的电影《Caccia all’uomo》，这是对即将到来的意大利电影节的惊人期待。这一章谈到了巴瓦的《血与黑蕾丝》再次强调了死亡之前的高潮，并在放大杀戮本身的暴行的同时将其放大。它描述了电影的谋杀序列，它的特点是一个明确的环境，并且在受害者的特征上有自己的特殊性，比如她的分派方式和凶器。
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This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour from the story, eliminating the annoying comic interludes that plagued the film La ragazza che sapeva troppo. It also investigates how the makers of Blood and Black Lace drew from other sources and enhanced the Gothic mood that characterised the Edgar Wallace Krimis cycle. The chapter describes the ways in which violence in films is directed towards the female body, such as the opening sequence of the film La maschera del demonio where the character Asa is tortured with the titular spiked mask and burned at the stake. It discusses how horror underlined a radical change in the erotic imagery of the average Italian.
这一章强调了电影《血与黑丝带》(6 donne per l’assassino)的各种影响。它解释了马里奥·巴瓦和他的联合编剧是如何从故事中抹去所有幽默的痕迹，消除了困扰电影《吸血鬼日记》的令人讨厌的喜剧插曲。它还调查了《血》和《黑色蕾丝》的制作者如何从其他素材中汲取灵感，并增强了埃德加·华莱士·克里米斯系列的哥特式氛围。这一章描述了电影中的暴力指向女性身体的方式，比如电影La maschera del demonio的开头，角色Asa被名义上的尖刺面具折磨并在木桩上被烧死。它讨论了恐怖如何突显了普通意大利人的色情形象的根本变化。
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This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of Eastmancolor for the saturated colour compositions of his Gothic movies that drove the colour consultants on set to distraction. It also illustrates the context in which the characters moved in Blood and Black that ended up looking like a non-place, both baroque and abstract, that brought together elements typical of the Gothic genre. The chapter describes Blood and Black Lace's labyrinthine atelier of death as a modern-day subsidiary of Gothic's castles, with crypt, secret passages, curtains fluttering in the night, and mannequins instead of suits of armour. It also looks into the insistence of shapes that move with mechanical regularity that represented Blood and Black Lace's microcosm, where the distinction between human and nonhuman becomes uncertain, fleeting, and deceptive.
这一章讨论了马里奥·巴瓦是如何为他的电影《血与黑色蕾丝》(6 donne per l’assassino)选择颜色的，他在之前的恐怖电影中也是这样做的。它谈到了巴瓦在他的哥特电影中使用伊士曼色彩的饱和色彩构成，这让片场的色彩顾问们心烦意乱。它还说明了《血与黑》中的人物最终看起来像一个非地方的背景，既巴洛克又抽象，汇集了典型的哥特类型的元素。这一章将《血与黑蕾丝》迷宫般的死亡工作室描述为哥特式城堡的现代附属品，有地下室、秘密通道、夜间飘动的窗帘，还有人体模型而不是盔甲。它还研究了以机械规律运动的形状的坚持，这些形状代表了《Blood and Black Lace》的微观世界，在这里，人类和非人类之间的区别变得不确定、短暂和具有欺骗性。
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{"title":"Prologue (and Epilogue)","authors":"N. S. Nordholt, J. Opdam","doi":"10.2307/j.ctv13842cg.3","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.3","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":"130027454","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 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.
{"title":"The Rules of the Game","authors":"Jorge Sader Filho","doi":"10.2307/j.ctv13842cg.12","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.12","url":null,"abstract":"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.","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127467376","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}
{"title":"From the Page to the Screen","authors":"Melanie K. Hundley","doi":"10.2307/j.ctv13842cg.13","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.13","url":null,"abstract":"","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2007-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116021584","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}
In his 1854 "Postscript," the last of three essays collectively titled "On murder Considered as One of the Fine Arts," Thomas De Quincey uses the iconography of doors and thresholds to explore the dynamics of transgressive violence. Such liminal sites become metonymic analogues for his conception of masculinized agency, specifically in response to what in "The Household Wreck" (1838) he calls "the mighty Juggernaut of social life." They also function tropologically to develop his aesthetic of "dark" sublimity, as set forth in his well-known reflection, "On the Knocking at the Gate in Macbeth" (1823). In dramatizing the murderer John Williams' 1812 invasion of two homes in London's East End, De Quincey concentrates attention on moments of "suspersion," wherein we witness not simply the breaching of conventional boundaries between public and private spheres, but also the blurring of cultural constructions of value associated with them. Williams' depredations thus represent an ambivalent fetishizing of power that is inseparable from De Quincey's apprehensions regarding the "colossal pace of advance" in mid-Victorian England. Through its tracing of these tensions as figurative interspaces, the "Postscript" can be read as addressing certain symptoms and impasses of modernity, not least the simulacral nature of the "self." ********** Admong the topoi that figure prominently in Thomas De Quincey's iscursive prose as well as his Gothic fiction are doors, gates, and thresholds. Such iconography in the latter genre, of course, should come as no surprise. As numerous studies have shown, these tropes can be construed as boundary markers between "inner" and "outer," "self" and "other," or "private" and "public," often signifying the flexible interstices behind which lurks the Freudian "Uncanny." Hot all scholars, however, have been disposed to read these spatial metaphors as adumbrating some hidden or repressed interiority. In The Coherence of Gothic Conventions, for example, Eve Kosofsky Sedgwick draws attention to how the psychoanalytic model privileges the idea of depth while devaluing that of surface, leaving unexplored the exchanges that occur in terms of contiguity (11-12). (1) Few would deny, I think, that De Quincey's oeuvre is rife with such architectural planes, or what the present essay will describe as liminal interspaces charged with the threat of transgressive violence. In "On Murder Considered as One of the Fine Arts," I shall argue, these sites become metonymic analogues for his conception of masculinized agency, specifically in relation to what in an 1838 Gothic novella titled "The Household Wreck" he calls "the mighty Juggernaut of social life" (12:159). (2) An appropriate text with which to begin is the familiar reflection "On the Knocking at the Gate in Macbeth" (1823), included with several of De Quincey's extended papers on literary theory in David Masson's fourteen-volume edition of The Collected Writings. Anticipating twentieth-century
托马斯·德·昆西(Thomas De Quincey)在他1854年的《后话》(Postscript)中，用门和门槛的图像来探索违法暴力的动态，这是他三篇论文中的最后一篇，总标题为“论谋杀被视为一种艺术”。这样的阈值场所成为他的男性化能动性概念的转喻类比，特别是对他在1838年的《家庭残骸》(The Household Wreck)中所说的“社会生活的强大主宰”的回应。它们还在修辞上发展了他的“黑暗”崇高美学，正如他在著名的反思《在麦克白的门上敲门》(1823)中所阐述的那样。在将1812年杀人犯约翰·威廉姆斯(John Williams)入侵伦敦东区两所住宅的事件戏剧化的过程中，德·昆西将注意力集中在“悬空”时刻，在那里我们不仅目睹了公共领域和私人领域之间传统界限的突破，而且还目睹了与之相关的文化价值建构的模糊。因此，威廉姆斯的掠夺代表了一种对权力的矛盾崇拜，这与德昆西对维多利亚时代中期英国“巨大发展速度”的担忧是分不开的。通过将这些紧张关系作为具象的中间空间进行追溯，《后记》可以被解读为对现代性的某些症状和僵局的探讨，尤其是对“自我”的拟像性的探讨。**********在托马斯·德·昆西的散文诗和他的哥特小说中，最突出的主题是门、大门和门槛。当然，后一种类型的图像设计应该不足为奇。正如许多研究表明的那样，这些比喻可以被解释为“内在”与“外在”、“自我”与“他人”、“私人”与“公共”之间的边界标记，通常意味着隐藏在弗洛伊德式“不可思议”背后的灵活间隙。然而，并非所有学者都倾向于将这些空间隐喻解读为预示着某种隐藏或压抑的内在性。例如，在《哥特惯例的连贯性》一书中，伊芙·科索夫斯基·塞奇威克(Eve Kosofsky Sedgwick)让人们注意到精神分析模型是如何在贬低表面的同时赋予深度的概念以特权的，而没有探索在连续性方面发生的交流(11-12)。(1)我认为，很少有人会否认，德·昆西的作品中充斥着这样的建筑平面，或者是本文将描述为充满违法暴力威胁的有限空间。在《论被视为艺术之一的谋杀》一书中，我认为，这些场所成为了他男性化能动性概念的转喻类比，特别是与他在1838年的一部名为《家庭废墟》的哥特式中篇小说中所说的“社会生活中强大的庞然大物”(12:159)有关。(2)一个合适的文本是我们熟悉的反思《在麦克白的门上敲门》(1823)，收录在德昆西关于文学理论的几篇扩展论文中，收录在大卫·马森的十四卷本的《文集》中。预计20世纪的主观或情感批评，这篇文章试图解释伯克式的“可怕”和“庄严”，在邓肯被谋杀后，麦克德夫和伦诺克斯在第二幕到达邓西纳恩。在解释这一幕的影响之前，德昆西劝诫读者不要理会“当他的理解与他的其他思维能力相抵触时”的障碍(10:389)。然后，他继续与透视“视觉法则”进行比较:正如“从街道一端向下看的人”无法正确地理解两面墙或并排的房子一样，一个拒绝放弃自我距离的“水平线”的人也无法理解戏剧幕间休息的美学力量(10:39)。德昆西接着断言，我们的同情必须是“一种理解的同情”，这种同情包括对凶手的想象认同(10:39 . 91)。在这几页里，这篇文章描绘了一种启发式的方法，似乎几乎是无意识地部署了侵犯和监视的图像，背景是一个普通的社区，比如伦敦东区的拉特克利夫高速公路，约翰·威廉姆斯在1812年“首次登台”，“执行了那些无与伦比的谋杀，为他赢得了如此辉煌和不朽的声誉”(10:39)。…
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{"title":"Dressed to Kill","authors":"Campbell Black, B. D. Palma","doi":"10.2307/j.ctv13842cg.9","DOIUrl":"https://doi.org/10.2307/j.ctv13842cg.9","url":null,"abstract":"","PeriodicalId":210803,"journal":{"name":"Blood and Black Lace","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1980-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128900423","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}
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