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Danger Diabolik, Paperback by Hunt, Leon, Like New Used, Free shipping in the US

US $19.51
ApproximatelyC $26.49
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Item specifics

Condition
Like New: A book that looks new but has been read. Cover has no visible wear, and the dust jacket ...
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
Author
Leon Hunt
Item Weight
4.7 Oz
Item Width
4.3 in
Number of Pages
128 Pages

About this 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
Author
Leon Hunt
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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