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Genre, gender, giallo: the disturbed dreams of Dario Argento

Genre, gender, giallo: the disturbed dreams of Dario Argento

Balmain, Colette Jane (2004) Genre, gender, giallo: the disturbed dreams of Dario Argento. PhD thesis, University of Greenwich.

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Abstract

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, I 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 and feminist 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 Italian 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.

Item Type: Thesis (PhD)
Additional Information: uk.bl.ethos.533601
Uncontrolled Keywords: Dario Argento, giallo, film, cinema,psychoanalysis, horror film, oedipalisation, philosophy, genre, gender, culture, feminism, misogynism,
Subjects: B Philosophy. Psychology. Religion > B Philosophy (General)
H Social Sciences > HQ The family. Marriage. Woman
P Language and Literature > PN Literature (General) > PN1993 Motion Pictures
Pre-2014 Departments: School of Humanities & Social Sciences
School of Humanities & Social Sciences > Department of Communications & Creative Arts
Last Modified: 14 Oct 2016 09:15
Selected for GREAT 2016: None
Selected for GREAT 2017: None
Selected for GREAT 2018: None
URI: http://gala.gre.ac.uk/id/eprint/5795

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