„Ostatniej nocy w Soho” a tradycja włoskiego kina grozy
This article presents and interpretation of Edgar Wright’s Last Night in Soho as an attempt to both pay tribute and offer a polemic with the tradition of Italian horror cinema, including giallo films. This approach seems valid, since one of lead actresses, Thomasin McKenzie, mentioned that during he...
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| Format: | Article |
| Language: | deu |
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Wydawnictwo Uniwersytetu Wrocławskiego
2024-05-01
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| Series: | Literatura i Kultura Popularna |
| Subjects: | |
| Online Access: | https://wuwr.pl/lkp/article/view/15875 |
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| Summary: | This article presents and interpretation of Edgar Wright’s Last Night in Soho as an attempt to both pay tribute and offer a polemic with the tradition of Italian horror cinema, including giallo films. This approach seems valid, since one of lead actresses, Thomasin McKenzie, mentioned that during her preparations she had been told to watch a number of films, including Dario Argento’s Suspiria, one of the better-known Italian horror films.
The article is divided into four parts in which I argue that the movie’s plot uses a number of tropes and themes typical of Italian horror. The first part of the article discusses the themes of dreams, past traumas and oneirism present in Last Night in Soho — and the ways in which they can be considered Wright’s said tribute to Italian horror.
Part two focuses around female characters and their portrayal as a victims. I discuss in detail the reasons why Italian horror tends to be considered misogynistic and where these tendencies originate from. Then I proceed to explain how Last Night in Soho approaches this subject. The third part continues the reflections of portrayals of femininity, this time focusing around the female character as a killer; during this part I cover the ways in which Argento influenced Edgar Wright’s film. The fourth part concerns other, minor references to Argento’s other works. |
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| ISSN: | 0867-7441 2957-241X |