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Danger: Diabolik / Leon Hunt.

By: Material type: TextTextSeries: CultographiesPublisher: New York, NY : Columbia University Press, [2018]Copyright date: ©2018Description: 1 online resource : ‹B›B&W Photos: ‹/B›12Content type:
Media type:
Carrier type:
ISBN:
  • 9780231182812
  • 9780231851121
Subject(s): DDC classification:
  • 791.43/72 23
LOC classification:
  • PN1997.D284 H86 2018eb
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Acknowledgements -- Introduction: Diabolik, chi sei? -- 1. From fumetto nero to 'wild and kooky cape-opera': Production, promotion, initial reception -- 2. 'Uh-oh - it's getting groovy!': The cult afterlife of Danger: Diabolik -- 3. Fantômas all'italiana: Analysis -- 4. Genius of Crime: The place of the film -- Notes -- Bibliography -- Index
Summary: Danger: Diabolik (1968) was adapted from a comic that has been a social phenomenon in Italy for over fifty years, featuring a masked master criminal-part Fantômas, part James Bond-and his elegant companion Eva Kant. The film partially reinvents the character as a countercultural prankster, subverting public officials and the national economy, and places him in a luxurious and futuristic underground hideout and Eva in a series of unforgettable outfits. A commercial disappointment on its original release, Danger: Diabolik's reputation has grown along with that of its director, Mario Bava, the quintessential cult auteur, while the pop-art glamour of its costumes and sets have caught the imagination of such people as Roman Coppola and the Beastie Boys.This study examines its status as a comic-book movie, including its relation both to the original fumetto and to its sister-film, Barbarella. It traces its production and initial reception in Italy, France, the U.S., and the UK, and its cult afterlife as both a pop-art classic and campy "bad film" featured in the final episode of Mystery Science Theatre 3000.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231851121

Frontmatter -- Contents -- Acknowledgements -- Introduction: Diabolik, chi sei? -- 1. From fumetto nero to 'wild and kooky cape-opera': Production, promotion, initial reception -- 2. 'Uh-oh - it's getting groovy!': The cult afterlife of Danger: Diabolik -- 3. Fantômas all'italiana: Analysis -- 4. Genius of Crime: The place of the film -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Danger: Diabolik (1968) was adapted from a comic that has been a social phenomenon in Italy for over fifty years, featuring a masked master criminal-part Fantômas, part James Bond-and his elegant companion Eva Kant. The film partially reinvents the character as a countercultural prankster, subverting public officials and the national economy, and places him in a luxurious and futuristic underground hideout and Eva in a series of unforgettable outfits. A commercial disappointment on its original release, Danger: Diabolik's reputation has grown along with that of its director, Mario Bava, the quintessential cult auteur, while the pop-art glamour of its costumes and sets have caught the imagination of such people as Roman Coppola and the Beastie Boys.This study examines its status as a comic-book movie, including its relation both to the original fumetto and to its sister-film, Barbarella. It traces its production and initial reception in Italy, France, the U.S., and the UK, and its cult afterlife as both a pop-art classic and campy "bad film" featured in the final episode of Mystery Science Theatre 3000.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Mrz 2022)