Roberto Curti and Roberto Curti
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781911325932
- eISBN:
- 9781800342538
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325932.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of ...
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This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of Eastmancolor for the saturated colour compositions of his Gothic movies that drove the colour consultants on set to distraction. It also illustrates the context in which the characters moved in Blood and Black that ended up looking like a non-place, both baroque and abstract, that brought together elements typical of the Gothic genre. The chapter describes Blood and Black Lace's labyrinthine atelier of death as a modern-day subsidiary of Gothic's castles, with crypt, secret passages, curtains fluttering in the night, and mannequins instead of suits of armour. It also looks into the insistence of shapes that move with mechanical regularity that represented Blood and Black Lace's microcosm, where the distinction between human and nonhuman becomes uncertain, fleeting, and deceptive.Less
This chapter discusses how Mario Bava opted color for his film Blood and Black Lace (6 donne per l'assassino), which he had also done in his previous horror films. It talks about Bava's employment of Eastmancolor for the saturated colour compositions of his Gothic movies that drove the colour consultants on set to distraction. It also illustrates the context in which the characters moved in Blood and Black that ended up looking like a non-place, both baroque and abstract, that brought together elements typical of the Gothic genre. The chapter describes Blood and Black Lace's labyrinthine atelier of death as a modern-day subsidiary of Gothic's castles, with crypt, secret passages, curtains fluttering in the night, and mannequins instead of suits of armour. It also looks into the insistence of shapes that move with mechanical regularity that represented Blood and Black Lace's microcosm, where the distinction between human and nonhuman becomes uncertain, fleeting, and deceptive.
C. Claire Thomson
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474424134
- eISBN:
- 9781474444712
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474424134.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter is devoted to a detailed account of the life cycle of one film, arguably the high water mark of Dansk Kulturfilm’s production: Jørgen Roos’ 1960 short A City Called Copenhagen. This film ...
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This chapter is devoted to a detailed account of the life cycle of one film, arguably the high water mark of Dansk Kulturfilm’s production: Jørgen Roos’ 1960 short A City Called Copenhagen. This film was nominated for an Academy Award in the Short Subject category. The commissioning process and funding negotiations for this film were prolonged and complex, and are referred to in the film itself, an example of its use of humour. The film was shot on the cusp of the 1960s, and so documents changes to the cityscape, including the presence of Arne Jacobsen’s SAS Hotel. A City Called Copenhagen also circulated very widely and in multiple languages, offering a rich history of distribution and reception. Shot on Eastmancolor stock, the film is an exemplar of how the material instantiation of informational films impacts on their life cycle, and illustrates how the use of digital restoration techniques can recover films for a new digital dispositif.Less
This chapter is devoted to a detailed account of the life cycle of one film, arguably the high water mark of Dansk Kulturfilm’s production: Jørgen Roos’ 1960 short A City Called Copenhagen. This film was nominated for an Academy Award in the Short Subject category. The commissioning process and funding negotiations for this film were prolonged and complex, and are referred to in the film itself, an example of its use of humour. The film was shot on the cusp of the 1960s, and so documents changes to the cityscape, including the presence of Arne Jacobsen’s SAS Hotel. A City Called Copenhagen also circulated very widely and in multiple languages, offering a rich history of distribution and reception. Shot on Eastmancolor stock, the film is an exemplar of how the material instantiation of informational films impacts on their life cycle, and illustrates how the use of digital restoration techniques can recover films for a new digital dispositif.
