![\"\"](\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2013\/10\/BlackGloveBallads_pic.jpg\" "\\"BlackGloveBallads_pic\\"")
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Now in its second year, curators Paul Corupe and Andrea Subissati\u00a0have assembled another set of lectures for their Black Museum<\/a> series, and among the esteemed guests is, er, me!<\/p>\n Held at The Big Picture Cinemas (formerly The Projection Booth) at 1035 Gerard Street East, the first of five has already taken place \u2013 Jame Love\u2019s Arcane Arcade: The History of Horror in Video Games<\/a><\/em> (Sept. 26) \u2013 and the remaining are as follows, Thursdays at 8pm:<\/p>\n Oct. 10 – Black Glove Ballads: The Art of the Italian Giallo Soundtrack<\/a> (me)<\/em><\/p>\n Oct. 24 \u2013 Fashioning Fear: A Social History of Halloween Costumes<\/a> (Alex Kavanagh)<\/em><\/p>\n Nov. 7, 2013 – King of the Ring: Stephen King Movie Debate<\/a> (Tal Zimmerman, Stevem Kostanski, Gary Pullin, Monica S. Kuebler, Less Lee Moore, Shaun Hatton, Alexandra West, and J.M. McNab)<\/em><\/p>\n Nov. 21 \u2013 Woeful Wombs: Pregnancy and the Horror Film<\/a> (Kiva Reardon)<\/em><\/p>\n I\u2019ve been hungry to write a book on Dario Argento\u2019s use of music in his films for a while, and this first effort to investigate the relationship between music and the montage of violent Italian crime thrillers \u2013 the giallo \u2013 should be fun.<\/p>\n Expect montages from pivotal works and the music of Carlo Rustichelli, Ennio Morricone, and Goblin, among others, plus some interview clips to support this amazing (and crazy) genre and the superb music crafted by great Italian composers & musicians.<\/p>\n The giallo is a uniquely Italian genre, yet it has tangible roots in Alfred Hitchcock thrillers, Agatha Christie whodunnits and bodycount mysteries, and gothic elements from early \u2018haunted house\u2019 shockers where people lodged in a creepy domicile may well be cadavers by sunrise.<\/p>\n In advance of the lecture, I\u2019ve uploaded a set of reviews highlighting some of the early shockers which in variable degrees influenced giallo pioneers Mario Bava and Dario Argento:<\/p>\n The first adaptation of Agatha Christie\u2019s primordial slasher\u00a0And Then There Were None<\/a><\/strong> [M<\/a>] (1945), Paul Leni\u2019s silent version of The Cat and the Canary<\/a><\/strong> [M<\/a>] (1927), and James Whale\u2019s mordant (and very weird) thriller The Old Dark House<\/a><\/strong> [M<\/a>] (1932).<\/p>\n I\u2019ve also added a review of the el cheapo \/ Poverty Row \/ faux thriller The Phantom<\/a><\/strong> [M<\/a>] (1931), plus Michael Powell’s\u00a0The Thief of Bagdad<\/a> <\/strong>(1940) to the KQEK.com archive because the latter is June Duprez\u2019 best-known work after And The There Were None<\/strong>. For some reason this lengthy review of the 2008 Criterion disc was never added to the database, and all \u00a0links still referred to a long-dead Music from the Movies entry, where it was first published.<\/p>\n (If there\u2019s any connection between Thief<\/strong> and the giallo, it\u2019s the blazing Technicolor cinematography and saturated colour lighting which Bava himself applied in fantasy films like Hercules in the Haunted World<\/a><\/strong>, and his brilliant giallo Blood and Black Lace<\/strong>.)<\/p>\n More lecture details to come in the following days, plus another entry (with scanned ephemera) in my International Independent Video Store Day nostalgia blog.<\/p>\n Coming next:<\/em> Sexy Beast<\/strong> on Blu via Twilight Time<\/p>\n .<\/span><\/p>\n .<\/span><\/p>\n .<\/span><\/p>\n Mark R. Hasan<\/strong>, Editor Mark your calendars for my Black Museum lecture on the music composed for Italian’s beautifully insane crime \/ thriller \/ slasher \/ whodunnit \/ mystery genre, the giallo. On Thursday October 10th at 8pm at The Big Picture Cinemas, I’ll be discussing the artistry of several composers, including Carlo Rustichelli, Ennio Morricone, and Goblin. For some early contextual reading, I’ve uploaded reviews of some genre influences, including And Then There Were None (1945), The Cat and the Canary (1927), The Old Dark House (1932), and The Phantom (1931).<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,5],"tags":[2256,2257],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1QQ","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7120"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7120"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7120\/revisions"}],"predecessor-version":[{"id":7125,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7120\/revisions\/7125"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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