Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red by Giusti Giulio L.

Subjects: “…dario argento…”
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Fairy Tale Sources and Rural Settings in Dario Argento’s Supernatural Horror by Peter Vorissis

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Palimpsest, Pasolini, Poe and Poetics, or the phantoms haunting Dario Argento’s Opera (1987) by Keith Hennessey Brown

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La quadrature du film : citation de Nighthawks (Edward Hopper, 1942) dans Les Frissons de l’angoisse (Profondo rosso, Dario Argento, 1975) by Nicolas Cvetko

“… Dans son film Les Frissons de l’angoisse (Profondo rosso, 1975), Dario Argento cite explicitement la célèbre toile d’Edward Hopper intitulée Nighthawks (1942). …”
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Los contornos del miedo. La huella del arte pictórico en el giallo italiano. by Agustín Rubio Alcover, Antonio Loriguillo-López

“…En este artículo realizamos una primera aproximación integral a la transtextualidad pictórica del giallo a través de la glosa de las pinturas referenciadas (y de sus implicaciones expresivas y discursivas) en los gialli de sus dos directores emblemáticos: Mario Bava y Dario Argento. La arbitrariedad de vocación postmoderna en su motivación artística puede rastrearse en el cine posterior.…”
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Gothic/Giallo/Genre: hybrid images in Italian horror cinema, 1956-82 by Keith H Brown

“…Whilst accepting this broad distinction, this paper seeks to add nuance by considering the hybrid elements of three key films by three of the most important directors working in the giallo and horror area, namely Riccardo Freda with I Vampiri (1956), Mario Bava with The Girl Who Knew too Much (1963) and Dario Argento with Deep Red (1975). Drawing in particular upon Nöel Carroll’s idea of “fearing fictions”, I contend that Freda’s film, the first Italian horror movie since the silent era, is notable for being a distinctively modern vampire film; that Bava’s film, a foundational giallo, may be seen as having a palimpsest in Jane Austen’s Gothic parody Northanger Abbey; and that Argento’s film, while often taken as the paradigmatic giallo, has supernatural horror elements that push it in the direction of the Gothic.…”
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Visto, si stupri. Sesso e terrore nelle immagini di violenza sulle donne nel cinema italiano degli anni Settanta, tra finzione e realtà by Giovanni Memola

“…Quickly brought to popularity in the wake of Dario Argento’s works, over the years the “giallo” has been widely investigated precisely on the grounds of its defining featuring of violence against women, with most outcomes interpreting its psychological and allegorical aspects against the background of Italy’s contemporaneous social history. …”
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„Ostatniej nocy w Soho” a tradycja włoskiego kina grozy by Michał Mazgaj

“…This approach seems valid, since one of lead actresses, Thomasin McKenzie, mentioned that during her preparations she had been told to watch a number of films, including Dario Argento’s Suspiria, one of the better-known Italian horror films. …”
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Filem Suspiria (1977): pengaruh pop art dan pencahayaan / Muhammad Syarafi Saadon by Saadon, Muhammad Syarafi

“…Oleh yang demikian, kajian ilmiah ini memfokuskan kepada teknik pencahayaan filem dan perkaitannya dengan pop art yang dikaji menerusi filem Suspiria (1977) arahan pengarah Itali, Dario Argento. Mengisahkan tentang seorang penari balet, Suzy Bannion, yang melalui pelbagai kejadian aneh dan misteri di Tanz Dance Academy. …”
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