Dario Argento by James Gracey

By James Gracey

The stylistic and bloody excesses of the movies of Dario Argento are immediately recognizable—his motion pictures lock violent deaths in a twisted include with a nearly sexual good looks. Narrative and common sense are usually misplaced in a relentless bombardment of surroundings, technical mastery, and provocative imagery.

Setting the tone with prior gialli movies reminiscent of The Animal Trilogy and Deep crimson, Argento has gradually driven the limits; via his elaborately gothic fairytales Suspiria and Inferno, correct as much as his newer contributions to Showtime's Masters of Horror series and the belief of his 3 moms trilogy, Mother of Tears: The 3rd Mother. alongside the way in which, his prowling digicam paintings, pounding ratings, and stylistic bloodshed have purely won in depth and opulence.

Argento maintains to create inimitable and feverishly violent motion pictures with a degree of artistry not often obvious in horror movies. His excessive profile and mastery of the style is proven together with his position as manufacturer on celebrated classics resembling George A. Romero's sunrise of the useless and Lamberto Bava's Demons. His paintings has motivated the likes of Quentin Tarantino, John wood worker, Martin Scorsese & many others.

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Or do the characters we see on the screen ‘really’ move? 7 Does the phenomenon of movement in movies give us an assured criterion to distinguish moving images from images in painting or photography? It might seem so, yet one can readily give counterexamples of films that eschew any movement of, or within, the image. Carroll (2008: 59), for example, provides an impressive list, ranging from Nagisa Oshima’s Band of Ninjas (1967) (a film of a comic strip), Michael Snow’s One Second in Montreal (1969) (a film of photos), Hollis Frampton’s Poetic Justice (1972) (a film of a shooting script), to Godard and Gorin’s Letter to Jane (1972) (another film of photos).

Similarly, if we accept La Jetée as a work of cinema (indeed a revered and memorable one), then we have to question whether movement need be a necessary condition of film. Or we could question on what grounds we would count La Jetée as a work of cinema, but not an identical slideshow installation of just these enigmatic photographs telling the story of a lost soul ‘haunted by an image’. Carroll’s response is to argue that it is not actual movement but rather the ‘technical possibility’ of such movement that is a necessary element of film.

Imagine that we are in the gallery, and that we share a knowledge of Marker’s film; we would now be perplexed as to whether we are 35 New Philosophies of Film seeing a version of ‘Marker’s film’ or a clever ‘simulation’ of it by means of the slideshow exhibit. What if no discernible physical difference distinguishes my viewing of the slideshow from my viewing of the film? What, ontologically speaking, distinguishes the slideshow version from the film version? Would the means of exhibition, or the material ‘medium’ being used, or the context of performance, change the meaning of the work?

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