Art, cinema, horror, excess
Giallo : Italy and beyond
Girls asleep, girls afraid : Vermeer in The forbidden room (Anima Persa, 1977) and The psychic (Sette Note in Nero, 1977)
Swan guts and screaming popes : Salvador Dalí, Francis Bacon and A lizard in a woman's skin (Una lucertola con la pelle di donna, Lucio Fulci, 1971)
The Medusa's warning : The Stendhal syndrome (La Sindrome di Stendhal, Dario Argento, 1996)
Misreading clues : Dario Argento's The bird with the crystal plumage (L'uccello dalle piume di cristallo, 1970) and Deep red (Profondo rosso, 1975)
Haunted portraits : The red queen kills seven times (La dama rossa uccide sette volte, Emilio Miraglia, 1972) and Your vice is a locked room and only I have the key (Il tuo vizio è una stanza chiusa e solo io ne ho la chiave, Sergio Martino, 1972)
Paint death clearly : Saint Sebastian and The house with laughing windows (La casa dalle finestre che ridono, Pupi Avati, 1976)
A portrait of an artist as a mad drunk : The red headed corpse (La rossa dalla pelle che scotta, Renzo Russo, 1972)
The myth of the "mad" genius : Vincent Van Gogh and Blood delirium (Delirio di sangue, Sergio Bergonzelli, 1988)
The ghosts of capitalism : art, labor and exploitation in A quiet place in the country (Un tranquillo posto di campagna, Elio Petri, 1968)
Conclusion: Style is the substance.
