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By L. Andrew Cooper

Commanding a cult following between horror lovers, Italian movie director Dario Argento is better identified for his paintings in heavily similar genres, the crime mystery and supernatural horror, in addition to his impression on glossy horror and slasher videos. In his 4 a long time of filmmaking, Argento has displayed a dedication to innovation, from his directorial debut with 1970's suspense mystery The fowl with the Crystal Plumage to 2009's Giallo. His motion pictures, just like the lurid yellow-covered murder-mystery novels they're encouraged by means of, persist with the suspense culture of hard-boiled American detective fiction whereas incorporating baroque scenes of violence and excess. 
While concerns of Argento's motion pictures usually describe them as irrational nightmares, L. Andrew Cooper makes use of controversies and theories concerning the motion pictures' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and style to claim the anti-rational common sense of Argento's oeuvre. impending the movies as rhetorical statements made via extremes of sound and imaginative and prescient, Cooper areas Argento in a practice of aestheticized horror that incorporates De Sade, De Quincey, Poe, and Hitchcock. interpreting person photos and sequences in addition to better narrative buildings, he finds how the director's stylistic excesses, frequently condemned for glorifying misogyny and different kinds of violence, provide efficient resistance to the cinema's visible, narrative, and political norms.

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Beginning with the opening credits, which show a scrolling strip of some of the Western world’s best-loved paintings, The Stendhal Syndrome barrages viewers with potent imagery. indd 20 Dario Argento 8/27/12 3:56 PM dane actions receive extreme representation: for example, when Anna takes pills, they tumble in extreme close-up through the interior of her esophagus. Worse still (from the perspective that blames art for murder), the film’s greatest extreme arguably lies in its casting. By the time of the film’s release, Asia Argento, who plays Anna, had a growing international reputation as the actress daughter of one of Italy’s best-known filmmakers.

A neat equation, Italian style: whore equals liar equals murderer. ” Anna’s rebuke spells out for Giordani and the audience why this sexual prejudice is a dead end. ” The second source of exposition about the XYY phenomenon is Dr. Casoni, who is eventually revealed as the killer. During the robbery at the film’s beginning, Dr. Casoni steals the files that would reveal his genetic abnormality, and to keep his secret he first pushes Dr. indd 41 Doing Violence on Film | 41 8/27/12 3:56 PM scientist spotted by Arno and Lori at the beginning, under a train, and then kills a chain of others connected to the institute or to the photographer’s unlucky capture of the Calabresi murder on film.

Her mental disturbance remained dormant for ten years, until she came across a painting that depicted the horrible scene of which she had been the protagonist. Her latent madness came to life, violent and irresistible. Strangely, she did not identify herself with the victim but with the aggressor, maybe to rid herself of fear. This explanation relies on psychoanalytic theory about identification, giving the same power to psychoanalysis as Psycho. However, the film’s presentation undermines the authority of this explanation.

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