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Danger Diabolik, Paperback by Hunt, Leon, Brand New, Free shipping in the US
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eBay-objectnummer:362965314619
Specificaties
- Objectstaat
- Book Title
- Danger Diabolik
- ISBN
- 9780231182812
- Subject Area
- Performing Arts
- Publication Name
- Danger: Diabolik
- Publisher
- WallFlower Jeans Press
- Item Length
- 7 in
- Subject
- Film / Guides & Reviews, Film / Direction & Production, Film / History & Criticism
- Publication Year
- 2018
- Series
- Cultographies Ser.
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.5 in
- Item Weight
- 4.7 Oz
- Item Width
- 4.3 in
- Number of Pages
- 128 Pages
Over dit product
Product Identifiers
Publisher
WallFlower Jeans Press
ISBN-10
0231182813
ISBN-13
9780231182812
eBay Product ID (ePID)
237995439
Product Key Features
Number of Pages
128 Pages
Publication Name
Danger: Diabolik
Language
English
Publication Year
2018
Subject
Film / Guides & Reviews, Film / Direction & Production, Film / History & Criticism
Type
Textbook
Subject Area
Performing Arts
Series
Cultographies Ser.
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
4.7 Oz
Item Length
7 in
Item Width
4.3 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
791.4372
Table Of Content
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
Synopsis
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 Fant mas, 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 ., 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 Fantomas, 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 U.K., and its cult afterlife as both a pop-art classic and campy "bad film" featured in the final episode of Mystery Science Theatre 3000 ., 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 ., Danger: Diabolik (1968) was adapted from a comic that has been a social phenomenon in Italy for over fifty years. This study examines its status as a comic-book movie, 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."
LC Classification Number
PN1997.D284H86 2018
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