TY - BOOK AU - Hunt,Leon TI - Danger: Diabolik T2 - Cultographies SN - 9780231182812 AV - PN1997.D284 H86 2018eb U1 - 791.43/72 23 PY - 2018///] CY - New York, NY : PB - Columbia University Press, KW - Cult films KW - Italy KW - History KW - Motion pictures KW - PERFORMING ARTS / Film & Video / History & Criticism KW - bisacsh N1 - 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; Issued also in print N2 - 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 UR - https://doi.org/10.7312/hunt18281 UR - https://www.degruyter.com/isbn/9780231851121 UR - https://www.degruyter.com/document/cover/isbn/9780231851121/original ER -