TY  - BOOK
AU  - Cooper,L.Andrew
TI  - Dario Argento /L. Andrew Cooper
T2  - Contemporary film directors
SN  - 9780252094385
AV  - PN1998 .D375 2012
PY  - 2012///
CY  - Urbana
PB  - University of Illinois Press
KW  - Argento, Dario
KW  - Electronic Books
N1  - Includes filmography; 2; ""Cover""; ""Title Page""; ""Copyright Page""; ""Contents""; ""Acknowledgments""; ""DARIO ARGENTO: DOING VIOLENCE ON FILM""; ""Against Criticism: Opera and the Stendhal Syndrome""; ""Opera""; ""The Stendhal Syndrome""; ""Against Interpretation: The First Five Gialli""; ""The Bird with the Crystal Plumage""; ""The Cat o' Nine Tails""; ""Four Flies on Grey Velvet""; ""Deep Red""; ""Tenebre""; ""Against Narrative: The Three Mothers Trilogy and Phenomena""; ""Suspiria""; ""Inferno""; ""Mother of Tears""; ""Phenomena""; ""Against Conventions: From Trauma to Giallo""; ""Trauma""; ""The Stendhal Syndrome (Revisited)""""Sleepless""; ""The Card Player""; ""Do You Like Hitchcock?""; ""Giallo""; ""INTERVIEWS WITH DARIO ARGENTO""; ""Filmography""; ""Bibliography""; ""Index""; 2; b
N2  - 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. 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. _x000B__x000B_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. 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._x000B_
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