Paure, suoni. Il cinema italiano nell'età dell'ansia

Translated title of the contribution: [Autom. eng. transl.] Fears, sounds. Italian cinema in the age of anxiety

Research output: Contribution to journalArticlepeer-review

Abstract

[Autom. eng. transl.] The seventies, and in general the post-68, mark a strong intensification (Bordwell) of cinematographic languages, an intensification which in the veins of thriller and Italian-style detective is sometimes even naively and grossly brought to almost baroque limits; in that phase, the sound component is subjected to perhaps even more decisive tensions, and it is in the set of audiovisual codes that we can fully evaluate the impact of the Italian crime season. I will work here on an exemplary case study, not only for the wealth of analytical cues, but also for its chronological location and the history of its reception: Dario Argento's Suspiria (1977), a film that the same director proposed in time like his rock opera, and the place of his maximum freedom of expression, and which still enjoys a cult status in the contemporary.
Translated title of the contribution[Autom. eng. transl.] Fears, sounds. Italian cinema in the age of anxiety
Original languageItalian
Pages (from-to)88-93
Number of pages6
JournalQUADERNI DEL CSCI
Publication statusPublished - 2019

Keywords

  • Cinema italiano
  • Colonna sonora
  • Dario Argento
  • Suspiria

Fingerprint

Dive into the research topics of '[Autom. eng. transl.] Fears, sounds. Italian cinema in the age of anxiety'. Together they form a unique fingerprint.

Cite this