Search results for: dario-argento

Fear

Author : Dario Argento
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To his legion of admirers Dario Argento is a legend, and to his filmmaking contemporaries he's an inspiration and an icon.For many years Argento's ground-breaking shockers like Deep Red, Suspiria, Inferno and Opera meant box-office gold. Now the maverick auteur, lauded as the Italian Hitchcock and the Horror Fellini, has written his autobiography, revealing all about his fascinating life, his dark obsessions, his talented family, his perverse dreams, and his star-crossed work. With candour and honesty, Fear lifts the lid on Argento's glittering career, from his childhood mixing with glamorous Italian movie stars to his start in the fledgling field of cinema criticism, Argento shares compelling anecdotes about his life growing up in La Dolce Vita Rome.Born into a family that breathed cinema, as a child Dario Argento was a voracious devourer of books and films. Bored by school so much that he fled to Paris, the young Dario felt at ease only in the darkness of a cinema - where he found fertile soil in which his solitary nature and overflowing imagination could flourish. But it was his experience as a journalist that led to his life-changing encounter with Sergio Leone, for whom he and Bernardo Bertolucci wrote the script for Once Upon a Time in the West.Meanwhile, the mind of the future director developed a desire as ambitious as it was magnificent: to make a film in a new style, distinct from all others. Channelling the films of Hitchcock, Lang and Antonioni triggered a wealth of ideas that changed the history of cinema.His first film came out in 1970 - The Bird with the Crystal Plumage. In no time at all the name of Dario Argento was known across the globe. And soon enough a series of classic films including Deep Red and Suspiria saw the light of the projector beam.Dario Argento is a maverick auteur who captured his personal demons on celluloid. At last, his fascinating life story can be told: his passions, his loves, his fears. In his autobiography, alongside the tale of an inspirational film director making his mark on the world, one glimpses the anxieties of a driven but shy man, in love with cinema and life itself.Adapted from the Italian translation and illustrated with rare photographs, the award-winning and critically acclaimed Master of Terror tells all. So put on your black leather gloves and start turning the pages of Fear for the answer to every question you've ever wanted to ask about the weird and wonderful world of Dario Argento.

Murder by Design

Author : Troy Howarth
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This book covers the films of Dario Argento, Italy's acknowledged master of horror and suspense, has made a career out of exploring the macabre poetry of images of violent death. He did not, however, set out to be a filmmaker. He established himself early on as a progressive voice in film criticism-lavishing praise on directors like Sergio Leone, who had yet to receive their due from the Italian critical establishment. His efforts attracted the attention of Leone himself, who invited the young critic to help develop the story for his next feature. The end result, Once Upon a Time in the West, is often cited as a masterpiece-and from there, Argento went on to enjoy success as a screenwriter before making the all-important switch to directing. His directorial debut, The Bird with the Crystal Plumage, became a major hit and helped to popularize the floundering genre of Italian thrillers, also known as gialli. In the years since, Argento has established a high profile as one of Italian cinema's most commercially successful artists, earning a level of celebrity which is almost unheard of among film directors. His filmography includes such beloved gems as Deep Red, Suspiria, Inferno, and Phenomena, as well as more hotly-debated titles like The Stendhal Syndrome, The Phantom of the Opera, Sleepless, and Mother of Tears. Murder by Design: The Unsane Cinema of Dario Argento explores the full scope of his work as a writer, a producer, and a director. Lavishly illustrated and with newly conducted interviews with Dario Argento, as well as such colleagues as actress (and daughter) Fiore Argento, actress Sally Kirkland, actress Irene Miracle, composer Claudio Simonetti, and cinematographer Luciano Tovoli, the book provides a comprehensive overview of Argento's life, career, and rich cinematic legacy.

Dario Argento

Author : Alan Jones
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Internationally renowned writer, broadcaster and author Alan Jones has tirelessly reported on every aspect of Dario Argento's career for more than three decades. Every single feature, review, interview and in-depth look at Argento's multifaceted universe has been meticulously collated into this stunning volume.

Art of Darkness

Author : Chris Gallant
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Dario Argento is the undisputed master of Italian horror cinema. His films disrupt what is often perceived as an inflexible divide between the artistic and the commercial, high art and exploitation, forging a surprising, exciting, inimitable signature style.

Dario Argento and the Making of Deep Red Profondo Rosso

Author : Luigi Cozzi
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Dario Argento s World of Horror video

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Dario Argento

Author : L. Andrew Cooper
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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, as well as his influence on modern horror and slasher movies. 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. While considerations of Argento's films often describe them as irrational nightmares, L. Andrew Cooper 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, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. Analyzing individual images and sequences as well as larger narrative structures, he 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.

Broken Mirrors broken Minds

Author : Maitland McDonagh
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Dario Argento

Author : James Gracey
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The stylistic and bloody excesses of the films of Dario Argento are instantly recognisable. Vivid, baroque and nightmarish, his films lock violent deaths in a twisted embrace with an almost sexual beauty. Narrative and logic are often lost in a constant bombardment of atmosphere, technical mastery and provocative imagery. It's a body of work which deals explicitly with death and violence, all the while revelling in perversely alluring stylistics and shot through with an unflinching intensity. Setting the tone with earlier gialli films such as The Animal Trilogy and Deep Red, Argento has steadily pushed the boundaries; through his elaborately gothic fairytales Suspiria and Inferno, right up to his more recent contributions to TV's Masters of Horror compendium and the conclusion of his Three Mothers trilogy, Mother of Tears: The Third Mother. Along the way, his prowling camera work, pounding scores and stylistic bloodshed have only gained in intensity and opulence. This Kamera Book examines his entire output. Hailed as one of horror cinemas most significant pioneers and the twentieth century's major masters of the macabre, Argento continues to create inimitable and feverishly violent films with a level of artistry rarely seen in horror films. His high profile and mastery of the genre is confirmed with his role as producer on celebrated classics such as George A. Romero's Dawn of the Dead and Lamberto Bava's Demons. His work has influenced the likes of Quentin Tarantino, John Carpenter and Martin Scorsese, to name but a few.

Giallo Argento All about Dario Argento s Movie

Author : Luigi Cozzi
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A Complex of Carnage

Author : Jack Hunter
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Dario Argento is the visionary Italian giallo director whose films such as Bird With The Crystal Plumage, Four Flies On Grey Velvet, Deep Red, Suspiria, and Inferno have shocked and disturbed audiences since the 1970s. Argento's films assault the eye with incredible colour schemes, transgressive twists, and bloody human carnage - but that is merely the surface. In-depth analysis of Argento's narratives reveals an occult undercurrent seething with abjection, compulsion, paranoia, schizophrenia and sexual psychosis; A COMPLEX OF CARNAGE reveals and explores this buried syndrome of manias in four separate essays, and is illustrated with over 80 illuminating photographic images, including 40 in stunning full colour.

Levana and Our Ladies of Sorrow

Author : Thomas De Quincey
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Beginning with a discussion of Levana, the ancient Roman goddess of childbirth, De Quincey imagines three companions for her: Mater Lachrymarum, Our Lady of Tears; Mater Suspiriorum, Our Lady of Sighs; and Mater Tenebrarum, Our Lady of Darkness.

Films Directed by Dario Argento

Author : Source Wikipedia
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (films not included). Pages: 34. Chapters: The Mother of Tears, Tenebrae, Inferno, Suspiria, The Cat o' Nine Tails, Two Evil Eyes, The Three Mothers, Deep Red, Do You Like Hitchcock?, The Bird with the Crystal Plumage, Phenomena, The Stendhal Syndrome, Four Flies on Grey Velvet, Opera, Trauma, The Phantom of the Opera, Giallo, Sleepless, The Card Player, The Five Days. Excerpt: The Mother of Tears (Italian title: La Terza madre, The Third Mother) is a 2007 Italian/American supernatural horror film written and directed by Dario Argento. The film stars Asia Argento, Daria Nicolodi, Moran Atias, Udo Kier, and Coralina Cataldi-Tassoni. The film has also been billed in English speaking media as 'Mater Lachrymarum, The Third Mother (English translation of the film's original Italian title), and Mother of Tears: The Third Mother. Written by Argento, Jace Anderson, Walter Fasano, Adam Gierasch, and Simona Simonetti, the film is the concluding installment of Argento's supernatural horror trilogy The Three Mothers, which began with Suspiria in 1977. The film depicts the confrontation with the final "Mother" witch, known as Mater Lachrymarum. The film begins with members of the Catholic Church digging up the body of a 19th century church official, whose casket has a box-shaped urn chained to it. Inside the box they discover artifacts belonging to Mater Lachrymarum (Moran Atias), the last surviving member of the Three Mothers; an ancient trio of powerful black witches. In particular, the box contains a magic cloak that, when worn by Mater Lachrymarum, increases her powers significantly. The urn is shipped to the Museum of Ancient Art in Rome, where Sarah Mandy (Asia Argento), an American studying art restoration works. Sarah is dating the curator Michael Pierce, a single father who is away from the museum that night. With help from the...

The Dario Argento collection

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The Two Truths

Author : Gino C Mongelli
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The Two Truths: Of Dario Argento's Opera and Satoshi Kon's Perfect Blue is a wide-ranging exploration of the remarkable connections between the film-works of two seemingly disparate directors through discussions of psychology, philosophy East (from which this book takes its title) and West (including integral theory), physics, film theory and other systems related to reality, thought and consciousness. Art-horror director Dario Argento and animated fantasy film director Satoshi Kon receive treatment of comprehensive scale and astounding breadth and depth in this whirlwind analysis of their filmographies (and many other directors' works including Frank Capra, Alfred Hitchcock and David Lynch).Fans of Dario Argento will enjoy the meticulous investigation of Opera and its connections to other Argento films, including Tenebrae, Phenomena and The Stendhal Syndrome. The book starts out with an elucidation of some of the major themes in Argento's often-overlooked Trauma to set the stage for drawing out further connections to the films of other directors, starting with Magnetic Rose written by Satoshi Kon.For fans of Satoshi Kon, The Two Truths marks a first, including not only analyses of Kon's films at the high level of resolution they warrant but also in-depth summaries of both the Japanese source novel, Perfect Blue: Complete Metamorphosis, and the Japanese-only companion audio drama Double Bind -The Looking Glass of Perfect Blue-.Author Gino C. Mongelli brings together diverse concepts and systems to present an important work in terms of both analysis of Argento's and Kon's filmographies and attending to our human abilities to think, self-reflect and grow.Themes specific to The Two Truths were heavily researched over three years, including poring over academic, filmic and other sources in five languages (especially English and Japanese). There are over 200 references cited including, among many others, Joseph Campbell, Freeman Dyson, Mircea Eliade, Richard P. Feynman, Sigmund Freud, Douglas Hofstadter, William James, Carl Jung, Hayao Kawai, R.D. Laing, Marshall McLuhan, Friedrich Nietzsche, P.D. Ouspensky, Jordan B. Peterson, Chögyam Trungpa, Ken Wilber and Slavoj Zizek.The Two Truths is an augmented spin-off of the previously released The Delicate War: Knowing in oneself the angel from the beast through the films of Dario Argento. In that volume, discussion of Argento's Opera received one chapter. Here, that chapter and many other elements are remixed and expanded by over five times in length to bring out the similarly fractal qualities of Kon's Perfect Blue and to use those two films as a foundational hologram through which to explore most of the other films in these two directors' brilliant oeuvres.

Dreams on the Screen

Author : Matthew Bleacher
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The work of Dario Argento, one of Italy's leading film directors, has been misinterpreted for decades by audiences and critics who wrongly associate his work with the exploitative slasher genre. Reducing his cinematic production to a simplistic category, one that has traditionally garnered scant critical approval, ignores, however, the profound ways Argento has contributed to an understanding of gender roles in Italy. This text examines how his most popular films, The Animal Trilogy, Deep Red, and The Three Mothers Trilogy, reflect the social anxieties regarding gender and sexuality of the1970s and 1980s. By building an auteur level formula to his films, Argento uses his expressive settings, various camera techniques, and subversive characters to challenge stereotypical views of masculinity and femininity. With these films, Argento not only shaped the landscape of Italian horror by inspiring his contemporaries, but also continues to influence the way directors make their films today.

Dario Argento

Author : Marshall Stallings
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The Argento Syndrome

Author : Derek Botelho
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A retrospective of Italian auteur Dario Argento's films; The ArgentoSyndrome is an examination of a career marked by such genre classics as Suspiria, Deep Red, Tenebrae, The Bird with the Crystal Plumage and Opera.The Argento Syndrome is part academic study, with essays on every film, and part personal memoir, detailing the author's time in Italy on a trip to visit the set of Sleepless. Also included are several full-length interviews with such personalities as John Carpenter, Tony Musante, Luciano Tovoli, Leigh McCloskey and Asia Argento. Derek Botelho holds a B.A. in Cinema from Columbia College, and is a regular contributor to dailydead.com and has had work published with Dark Discoveries, Little Shoppe of Horrors, Moviement, and Fangoria

Genre Gender Giallo

Author : Colette Jane Balmain
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This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage (1970) to The Stendhal Syndrome' (1996). In opposition to the dominant psychoanalytical approaches to the horror film generally and Argento's giallo specifically, this thesis argues that the giallo, both textually and meta-textually, actively resists oedipalisation. Taking up from Deleuze's contention in Cinema 1: The Movement Image that the cinematic-image can be consider the equivalent to a philosophical concept, suggest that Argento's giallo are examples of what Deleuze calls cinema of the "time-image": provoked and extended "philosophical" acts of imagining the world which opens up a theoretical space of thinking differently about questions of gender and genre in horror film, which takes us beyond the fixed images of thought offered by traditional psychoanalytical andfeminist paradigms of horror. In the opening chapters of this thesis, I argue that the cinematic-image has to be thought "historically", and that it is only be understanding the emergence of the "giallo" in the 1960s within the wider picture of Ital ian national cinema, that we can understand Argento's films as specific cultural expressions of thought, which are not reducible to paradigms based upon analyses of the more puritan and fixed American horror film (via Mulvey et all). In my subsequent discussion of Argento's "Diva" trilogy, I consider an assemblage of Deleuzian becoming and poststructuralist feminist thought (Kristeva I Cixous I Irigaray) as a mechanism through which to explore the increasingly feminised and feminist spaces of his later work. This thesis concludes by assessing Argento' s critical and creative legacy in films such as Toshiharu Ikeda's Evil Dead Trap (1988) and Cindy Sherman's Office Killer (1997). In these terms, a Deleuzian "approach", enables a set of readings, which open up the texts to a more productive consideration of their appeal, in a way which other more traditional approaches do not, and cannot, account for. The close textual and historical analysis demanded by Deleuze is both a reconsideration of the [feminist] politics of Argento's work, and a response to criticisms of misogynism.

Suspiria

Author : Alexandra Heller-Nicholas
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As one of the most globally recognisable instances of 20th century Eurohorror, Dario Argento’s Suspiria (1976) is poetic, chaotic, and intriguing. The cult reputation of Argento’s baroque nightmare is reflected in the critical praise it continues to receive almost 40 years after its original release, and it appears regularly on lists of the greatest horror films ever. For fans and critics alike, Suspiria is as mesmerising as it is impenetrable: the impact of Argento’s notorious disinterest in matters of plot and characterisation combines with Suspiria’s aggressive stylistic hyperactivity to render it a movie that needs to be experienced through the body as much as through emotion or the intellect. For its many fans, Suspiria is synonymous with European horror more broadly, and Argento himself is by far the most famous of all the Italian horror directors. If there was any doubt of his status as one of the great horror auteurs, Argento’s international reputation was solidified well beyond the realms of cult fandom in the 1990s with retrospectives at both the American Museum of the Moving Image and the British Film Institute. This book considers the complex ways that Argento weaves together light, sound and cinema history to construct one of the most breathtaking horror movies of all time, a film as fascinating as it is ultimately unfathomable.