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Sound and horror in the giallo film - [electronic resources]
![Sound and horror in the giallo film [electronic resources] / Damien Pollard.](/Sponge/Images/bookDefaults/EBbookdefaultsmall.png)
Sound and horror in the giallo film - [electronic resources]
상세정보
- 자료유형
- 전자책(국외)
- 미국국회도서관 청구기호
- PN1995.9.H6-P6 2025
- 자관 청구기호
- 기본표목-개인명
- 표제와 책임표시사항
- Sound and horror in the giallo film [electronic resources] / Damien Pollard.
- 발행, 배포, 간사 사항
- 형태사항
- 1 online resource (x, 170 pages) : illustrations (chiefly color).
- 총서사항
- Icons of horror
- 서지 등 주기
- Includes bibliographical references and index.
- 내용주기
- 완전내용Cover -- Title Page -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction: Eavesdropping on History -- 1. Intertextual Voices: The Girl Who Knew Too Much -- 2. Directorial Voices: The Bird with the Crystal Plumage -- 3. Ideological Voices: Short Night of Glass Dolls -- 4. National Voices: Don't Torture a Duckling and Torso -- 5. Economic Voices: The New York Ripper and Tenebrae -- Conclusion: The Voice as a Process -- Bibiliography -- Index -- About the Author
- 요약 등 주기
- 요약"The Italian giallo was a sleazy, violent, and stylistically baroque form of horror film that was produced in the hundreds from the 1960s to the 1980s. Sound and Horror in the Giallo Film listens closely to these films, asking how their soundtracks and their use of the human voice can help us understand the giallo's significance at a time when Italy was undergoing profound postwar social, economic, political, and cultural change. Throughout the history of Italian cinema, soundtracks have been a site of concerted and sustained intervention by political and economic forces. In Sound and Horror in the Giallo Film, author Damien Pollard argues that, because the giallo film pushed the boundaries of film form while also touting unapologetic commercialism, the voices on its soundtracks were both aesthetically exaggerated and directly shaped by commercial imperatives, which were influenced by Italy's turbulent postwar years. Featuring case studies of several well-known giallo films, including The Girl Who Knew Too Much, The Bird with the Crystal Plumage, and Tenebrae, Sound and Horror in the Giallo Film is an original analysis that reveals how the cinematic voice binds film and history"-- Provided by publisher.
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 기타형태저록
- Print version Pollard Damien Sound and horror in the giallo film
- 전자적 위치 및 접속
- 링크정보보기
MARC
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■1001 ▼aPollard, Damien
■24510▼aSound and horror in the giallo film ▼h[electronic resources] /▼cDamien Pollard.
■260 ▼aBloomington, Indiana▼bIndiana University Press▼c[2025]
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■4900 ▼aIcons of horror
■504 ▼aIncludes bibliographical references and index.
■5050 ▼aCover -- Title Page -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction: Eavesdropping on History -- 1. Intertextual Voices: The Girl Who Knew Too Much -- 2. Directorial Voices: The Bird with the Crystal Plumage -- 3. Ideological Voices: Short Night of Glass Dolls -- 4. National Voices: Don't Torture a Duckling and Torso -- 5. Economic Voices: The New York Ripper and Tenebrae -- Conclusion: The Voice as a Process -- Bibiliography -- Index -- About the Author
■520 ▼a"The Italian giallo was a sleazy, violent, and stylistically baroque form of horror film that was produced in the hundreds from the 1960s to the 1980s. Sound and Horror in the Giallo Film listens closely to these films, asking how their soundtracks and their use of the human voice can help us understand the giallo's significance at a time when Italy was undergoing profound postwar social, economic, political, and cultural change. Throughout the history of Italian cinema, soundtracks have been a site of concerted and sustained intervention by political and economic forces. In Sound and Horror in the Giallo Film, author Damien Pollard argues that, because the giallo film pushed the boundaries of film form while also touting unapologetic commercialism, the voices on its soundtracks were both aesthetically exaggerated and directly shaped by commercial imperatives, which were influenced by Italy's turbulent postwar years. Featuring case studies of several well-known giallo films, including The Girl Who Knew Too Much, The Bird with the Crystal Plumage, and Tenebrae, Sound and Horror in the Giallo Film is an original analysis that reveals how the cinematic voice binds film and history"-- Provided by publisher.
■532 0▼3EBSCOhost▼a"EBSCO evaluates our products based on the Web Content Accessibility Guidelines (WCAG) and the related Section 508 and EN 301 549 regulations in the US and EU. Most EBSCO products are substantially conformant with WCAG 2.2 level AA." Source: https://connect.ebsco.com/s/article/EBSCO-VPATs?language=en_US. Last accessed April 22, 2025.
■588 ▼aDescription based on online resource; title from digital title page (viewed on August 22, 2025).
■590 ▼aWorldCat record variable field(s) change: 050
■650 0▼aHorror films▼zItaly▼xHistory and criticism.
■650 0▼aMotion pictures▼zItaly▼xHistory▼y20th century.
■650 0▼aSound in motion pictures.
■655 0▼aElectronic books.
■655 7▼aFilm criticism.▼2lcgft
■655 7▼aCritiques cinématographiques.▼2rvmgf
■77608▼iPrint version▼aPollard, Damien▼tSound and horror in the giallo film▼dBloomington, Indiana : Indiana University Press, 2025▼z9780253073907▼w(DLC) 2025018928
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