Constitutional Modernism: Architecture and Civil Society in Cuba, 1933-1959

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If red is the color of insane passion, green is associated with death and decay, and with the moldy dungeons that lead to the family crypt. A similar sequence in The Horrible Dr. However, in The Horrible Dr. An illustrious member of the haute bourgeoisie, who in public is dedicated to saving lives, in private he is driven by an irresistible impulse to have sex with the dead. Two people in the same room, in two completely different worlds: a slice of Victorian life and not just that which is worth a treatise on sociology.

MarMargaretha, the slave, the submissive one, becomes the dominant half, so much so that she comes back from the grave and pushes Hichcock to rere- sume his old habits.

Hogle, ed. Michel Caen and J. Enterprises U. Germany, nineteenth century. One of them cast cast Eppler Eppler as as a police inspecto inspectorr in a thriller that would start production soon, but the actor never heard from the producer again. He showed up in Rome anyway, just to learn that the shooting had been postponed postpone d due to lack of of funds. Mauri, Mauri, on the other hand, does not dwell on poetic imagery, but goes for the jugular. As she will confess to the latter, she now feels disgust for her husband. Near the end, Wolfgang is almost impaled by mistake by Dr.

Nietzsche, in a comic twist that may or may not be unintentional. Note 1. RCA U. Rosy invites a feity within the realm of the Gothic thread: a male friend, Mary, to stay.

Filmed at Titanus Farnesina Studios Rome. An option which cannot be ruled out, given what happened with the other two episodes. In spite of appearances, P. First, it takes place in the present, and not in a gloomy castle but in a squalid basement. The episode was usually dismissed as the least interesting one, especially by U. The episode was heavily edited with several cuts, different dubbing in a few scenes and a newly shot insert of the letter Mary writes while Rosy is asleep.

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Gorka Boris Karloff is a peasant vampire: he has rough manners, is irascible and egotistical, and conceives family relations as a matter of ownership. He is in command, and the others have to follow him to the letter. To Bava, horror begins and develops within the family, and it accompanies its reestablish- ment in parallel to its disintegration.

An entire family welcomes and covets a new member. This, combined with the rigidity of her features and posture, makes her a paradoxical entity, in contradiction with the rules of logic and rationality. All this is accompanied by a score seemingly borrowed from a silent movie farce. In the prologue, Karloff plays the host with amused participation, establishing a direct dialogue with the audience.

Furthermore, he asks us to laugh at what all that represents. Movies are useless. They cannot teach any moral. The best they can do is allow us to dream. And at the end of the path there is no lesson to be learned, but only a playful goodbye. A rockinghorse, a few grown men acting like children, and lots of imagination. Kettridge, Jr.

Katalog mondadori by Nowela sp. z o.o. - Issuu

Freud, The Uncanny, p. Scotland, At well. Elliot [Elio Jotta] Dr. Filmed in Rome. John Hichcock is a regretful sad man. To Freda, horror is a Cartesian matter, a theorem to be proved through images: the thesis is the immanence of evil, while the supernatural is only a bogus trick in order to reach the deepest, atavistic fears.

It is no use to look for the spirit, the director seems to imply: what is left are just bones. Hichcock is dying, unbeknownst to all, like a rat. All the characters are evil, abject, diabolical. That is donym for Mannino and Roman Vlad. Hichcock, to the point that Freda tapes were attributed to Francesco De Masi, can even make his own personal stab at organeven though he is not credited on the picture. Hichcock, the Devil lights, and the exquisite title theme popped up is a very real person. That of Italian low-budget productions. An manded. Franco Mannino.

Pino Belli are minimal. Johnny Seemonell. Newspaper reporter George roundings.


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Twice the chills!! However, the dialogue and the rest are not mine. Grind house fate. The Whip and the Body, a. Old [Mario Bava]. Has Kurt returned as a ghost to exact revenge on his family?

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Instead, Luciano Martino had nothing to do with it. The director employed for the second time in his career an English pseudonym the rather self-deprecating John M. Bava would re-use the John M. As for Gastaldi, even though his name or rather, his pseudonym can be found in the credits as the assistant director, he never even set foot on the set. All this, however, with an eye to foreign models. It was also a matter of commercial strategies. Yet the way he dealt with the fantastic element of the story in The Whip and the Body is particularly interesting, and deserves an in-depth analysis.

Such a case is The Whip and the Body. The plot had its share of holes. Did Kurt really exist? That is the case with The Whip and the Body. The production company appealed, after making a few cuts, and obtained a more commercially viable V. But his game costs him his life. Dawson [Antonio Margheriti] and Sergio Corbucci, uncredited.

He then called on his good friend Antonio Margheriti. She was so nice, she made me crazy. One was placed on tracks, another one on a dolly, and so on. This way I was able to get many fragments which nevertheless were easier to edit together. That is, a mere observer of reality, powerless and defenseless against the horrors which he witnesses, as Foster will be as well.


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  • However, unlike the pale specters that today.