Martyn Conterio
- Published in print:
- 2015
- Published Online:
- February 2021
- ISBN:
- 9781906733834
- eISBN:
- 9781800342156
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733834.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter introduces Mario Bava, who made his officially credited directorial debut with Black Sunday, which took inspiration from a 19th-century short story, Viy, written by Ukrainian author ...
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This chapter introduces Mario Bava, who made his officially credited directorial debut with Black Sunday, which took inspiration from a 19th-century short story, Viy, written by Ukrainian author Nikolai Gogol. It explains the title Black Sunday, which was originally La maschera del demonio in Italian, before it was changed by American International Pictures (AIP) upon its release in the United States. It also explains how the Italian-language title, La maschera del demonio, is considered a pun, homage, or rip-off of Hammer's 1957 production La maschera di Frankenstein. The chapter recounts how the AIP purchased North American distribution rights and re-edited scenes, redubbed the soundtrack and dialogue, changed character names and gave Black Sunday an entirely new identity. It describes England's theatrical run of Black Sunday as Revenge of the Vampire in 1968.Less
This chapter introduces Mario Bava, who made his officially credited directorial debut with Black Sunday, which took inspiration from a 19th-century short story, Viy, written by Ukrainian author Nikolai Gogol. It explains the title Black Sunday, which was originally La maschera del demonio in Italian, before it was changed by American International Pictures (AIP) upon its release in the United States. It also explains how the Italian-language title, La maschera del demonio, is considered a pun, homage, or rip-off of Hammer's 1957 production La maschera di Frankenstein. The chapter recounts how the AIP purchased North American distribution rights and re-edited scenes, redubbed the soundtrack and dialogue, changed character names and gave Black Sunday an entirely new identity. It describes England's theatrical run of Black Sunday as Revenge of the Vampire in 1968.
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/9781911325932.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour ...
More
This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour from the story, eliminating the annoying comic interludes that plagued the film La ragazza che sapeva troppo. It also investigates how the makers of Blood and Black Lace drew from other sources and enhanced the Gothic mood that characterised the Edgar Wallace Krimis cycle. The chapter describes the ways in which violence in films is directed towards the female body, such as the opening sequence of the film La maschera del demonio where the character Asa is tortured with the titular spiked mask and burned at the stake. It discusses how horror underlined a radical change in the erotic imagery of the average Italian.Less
This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour from the story, eliminating the annoying comic interludes that plagued the film La ragazza che sapeva troppo. It also investigates how the makers of Blood and Black Lace drew from other sources and enhanced the Gothic mood that characterised the Edgar Wallace Krimis cycle. The chapter describes the ways in which violence in films is directed towards the female body, such as the opening sequence of the film La maschera del demonio where the character Asa is tortured with the titular spiked mask and burned at the stake. It discusses how horror underlined a radical change in the erotic imagery of the average Italian.
