#giallo essential
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giallofever2 · 2 years ago
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goryhorroor · 6 months ago
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horror sub-genres: mystery
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milfygerard · 3 months ago
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well it is the black parade, melancholy is the name of the game!
why does everyone think theyre gonna break up they were having so much fun
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amiya-shirou · 2 months ago
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Spoilers about Babel and Zwillingstürme im Herbst
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I was thinking about Arknights' recurring dynamic of siblings who must confront each other no matter how important the other is for them and realized there are more parallels than I expected between Theresa/Theresis and Arturia/Federico - to the point the latter pair feels like a still growing, less actualized, somewhat inverted version of the first.
Arturia is Theresa: focused on emotion and empathy, has weird mental powers (that interact pretty well with Theresa's, as seen in her interactions with Amiya), her ultimate ideal is a level of connection that goes beyond the scope of her own civilization and in trying to achieve it she's at the same time dooming herself, her halo almost looks like the Black Crown (which I doubt wasn't intended, since the Law is definitely comparable to Civilight Eterna). The contrasts between them are pretty evident too: a white Devil who perfectly looks the part of the saintess and a black Angel who perfectly looks the part of the villainess.
Federico is Theresis: the more down-to heart, more serious, less idealistic brother, who has difficulties expressing emotions to others (or even understanding them in Fede's case) and is extremely close to his sister but also feels he must stop her as her ideals lead her down a dangerous path for others. Theresa/Arturia are going against the will of the Myriad Souls/the Law, and Theresis/Federico confront them by acting as protectors of that will for the sake of the people that would be affected. Even in this case, there are evident contrasts: Theresis is seen as a negative figure, the villain in Theresa's story, while Federico is seen positively and Arturia is presented as the villain in his story.
Despite everything, the siblings know each other best. Federico can tell if a crime is Arturia's fault or not because he understands her more than anyone else; when Arturia's ideals crumble after the discussion with the Witch King and she seeks death, Federico is the one she wants to be killed by. Years of civil war and aiming for the others' destruction didn't put a dent in the trust and affection that exists between the Sarkaz twins, and when they're reunited in Londinium they're once again betting everything on each other like it's the most natural thing do to.
Civilight Eterna chose both Theresa and Theresis as successors for the will of the Sarkaz; they were special, the legendary twins with the potential to change Kazdel's fate. The Law calculated the immense adversities Terra is going to face in future, and chose both Arturia and Federico as the next Saints, essential for Laterano to prepare against them.
The one advantage the Giallos have over the twins is that they're younger, less caged by the collective will of their people. They can still reach a good middle point and work together for a better future without needing to extinguish the other for their ideal to prevail. While Theresa and Theresis understood the value of the other's belief, they were fundamentally opposed because they acted as the symbols of two separated possibilities for the Sarkaz, possibilities that clashed with each other despite their continued survival being the ultimate objective for both. Instead, Zwillingstürme im Herbst shows Federico taking steps towards Arturia and learning to use emotion as a way to understand her even if he can't feel them the same way she does, while Arturia realized the value of Federico's logical approach and that his approach can make her objective more concrete rather than just an abstract ideal.
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Federico helps Arturia give footing to her philosophical inquiries, reminding her that it is possible to find an answer and reach a conclusion and that her ideals do not need to remain abstract but she can actually take steps to realize them; meanwhile, for how strong the Kazdel twins' bond is, Theresis will always be an eternal reminder that most of the Sarkaz reject Theresa and her dreams for an hopeful future, and was never able to truly help her sustain Babel. And just as Federico one-ups Theresis on this matter, the same does Arturia to Theresa: she wants to see her ideal realized, she has learned that she also has a role in her utopia and that she shouldn't forget about herself while seeking it, in opposition to how Theresa can only see herself as a sacrifice, the soil upon which the flowers will grow after her death. Theresa and Theresis were doomed by the weight of Kazdel's history and suffering, but the two Sankta's story ends in a hopeful tone as their fate is not yet written, and in fact both of them are less a symbol of the will of Laterano and more clear outsiders in their society, rare different voices in a very conformist state and thus have the potential to change it rather than be shackled by their people's voices.
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thelanor-s-astame · 8 months ago
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Hollow Knight Resurrected really helped me get out of a massive writing slump when it started releasing, and has since been a huge boost of inspiration for the past couple of years. This series has been nothing but a lot of fun to watch, and I've enjoyed it alongside your analyses as well (especially the Ori ones, those are a riot).
That being said, which episode would you say you're the most proud of script-wise? And how long did you initially plan HKR to be early on? Did anything deviate from your initial ideas?
Absolutely love hearing this! I'm real glad I could make something that could inspire someone else's writing! Like, it's shocking to me! And I'm sorry for the lack of updates. My entire life kinda imploded last year and I've been trying to put it back together. But I do intend to finish this thing (I've also been learning how to animate in blender which is a huuuuuge door opener that kind of allows me to do literally anything, including a few scenes that I just had no idea how I was gonna do.) So as far as script-wise, Absolutely gotta be the Grimm special. A lot of the episodes have Charlie just walking around and most of those bits are just jokes that came to my brain while either playing to get the footage, or while I'm looking at it on a timeline. Whereas most of the dialogue bits are the ones I write. The Grimm Special, is mostly dialogue. So that *entire thing* was script, which I hadn't done before, and on top of that it was enough script to fill almost 90 minutes! There's also just a lot going on, particularly w/regaurd to generational differences and how each of the Troupe deals with Grimms Plan and how it absolutely isn't going to pan out. And it changed pretty quickly from early on just because I didn't have a hellova lot of initial ideas. Like the first time charlie mentions getting to "The Bottom" is in like the 3rd episode. I didn't think to give the boy a goal until halfway through editing that one lmao. Most everything else has gone according to plan. Biggest surprise was actually the Grimm episode because until a month before I made it I had no fuckin' clue what to do with Grimm and His Boys until I remembered a throwaway line I gave to cloth about the "Iridescent Neo-streetfighting movement" (A play on the Italian Neo-realist movement. Because all of the fighting history is just simplified film history I put new words on top of And was like "You know, I could just take that and make that Grimms Circus act... But if that's the case... well so after that the big thing the Italian Film Industry got into was Spagetti Westerns, and then a little later Giallo so... Oh fuck Rodeos and Giallo is just The Weird Bloody Fighting Grimm Does for An Audience" And went from there. But aside from that there hasn't honestly been a tone of deviation from the original ideas I'd set in place since episode 3. Mostly I've just added bits and pieces here and there. Exept for maybe a lot of Hornet's stuff. This was meant to be a quick, few episode series as a prelude to the Silksong Videos i was Bound to have been finished with by now lmaaaaaaao Some stuff in particular was this idea that Hornets deal is that she can essentially See the internal song of someone, and that was going to be, like, a huge combat thing. Similar to how Charlie keeps changing his name, Hornet would keep trying to find a different song. Bringing back the My Body Is A Cage meme, and eventually having it switch to Swimmers by Zero 7 as she realizes she found her home and is ready to move on from Hallownest. I was going to make the Silksong videos the First Series Like This I did. But it's taking it's time and so am I so I s'pose I can't complain. Swear I'm the only human being on the planet who wipes a little sweat off my brow every time we *don't* get a release date. It's like "OH THERE'S STILL TIME FOR ME TO FINISH MY THING!"
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demento-mori · 3 months ago
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(inspired by @goryhorroor's watchlist challenge)
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My October horror movie watchlist!!🎃👻
day 1: silent horror movie: Häxan (1922 dir. Benjamin Christensen)
day 2: a 30s horror movie: Dracula's Daughter (1936 dir. Lambert Hillyer)
day 3: a 40s horror movie: Cat People (1942 dir. Jacques Tourneur)
day 4: a 50s horror movie: The Thing from Another World (1951 dir. Christian Nyby)
day 5: a 60s horror movie: Eyes Without a Face (1960 dir. Georges Franju)
day 6: a 70s horror movie: Martin (1977 dir. George A. Romero)
day 7: a 80s horror movie: The Lost Boys (1986 dir. Joel Schumacher)
day 8: a 90s horror movie: Event Horizon (1997 dir. Paul W. S. Anderson)
day 9: a 2000s horror movie: Battle Royale (2000 dir. Kinji Fukusaku)
day 10: a 2010s horror movie: It Follows (2014 dir. David Robert Mitchell)
day 11: a 2020s horror movie: Late Night with the Devil (2023 dir. Colin Cairnes, Cameron Cairnes)
day 12: pick a horror movie from your watchlist: Lake of Dracula (1971 dir. Michio Yamamoto)
day 13: pick a movie from my essential underrated horror: Let's Scare Jessica to Death (1971 dir. John Hancock)
day 14: pick a hammer productions horror movie: Dracula A.D 1972 (1972 dir. Alan Gibson)
day 15: pick a remake of a horror movie: Psycho (1998 dir. Gus Van Sant)
day 16: pick a horror movie released this year: Cuckoo (2024 dir. Tilman Singer)
day 17: pick a horror short film: La Sirena (2017 dir. Rosita Lama Muvdi)
day 18: pick a horror movie with a female villain: Misery (1990 dir. Rob Reiner)
day 19: pick a blumhouse horror movie: The Black Phone (2021 dir. Scott Derrickson)
day 20: pick a horror movie with a cult: Rosemary's Baby (1978 dir. Roman Polanski)
day 21: pick a giallo horror movie: Blood and Black Lace (1964 dir. Mario Bava)
day 22: pick an a-24 horror movie: Bodies Bodies Bodies (2022 dir. Halina Reijn)
day 23: pick an animated horror movie: The Wolf House (2018 dir. Cristóbal León, Joaquín Cociña)
day 24: pick an analog horror movie: Noroi: The Curse (2005 dir. Koji Shiraishi)
day 25: pick a criterion horror movie: Godzilla (1954 dir. Ishiro Honda)
day 26: pick a shudder horror movie: Host (2020 dir. Rob Savage)
day 27: pick a technicolor horror movie: The Birds (1963 dir. Alfred Hitchcock)
day 28: pick a slavic horror movie: Solaris (1972 dir. Andrei Tarkovsky)
day 29: pick a female directed horror movie: Ravenous (1999 dir. Antonia Bird)
day 30: pick a horror movie from directors’ faves: The Devil's Backbone (2001 dir. Guillermo del Toro)
day 31: freestyle; pick a horror movie of your choice: Trick 'r Treat (2007 dir. Michael Dougherty)
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gonna try and squeeze a couple more in as well, but these are my main picks for my watchlist!! i tried to go for ones i havent seen yet, but there are a few familiar favourites in there too
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celuloideycarbono · 5 months ago
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I’d like to write a bit about my videos. These are my first experiences with video editing, but I’ve enjoyed it a lot, even though it has taken me a long time. I’ve realized that any video longer than three minutes is quite challenging to create. I’ve always loved cinema, which is why I chose film soundtracks. I had a fairly clear idea of what I wanted to convey, and in a way, these videos reflect my feelings. Or at least, that’s what I’ve tried to do.
The first video came about after hearing that Morricone piece. I wasn't familiar with it, nor with the movie it belongs to, Revolver, which I still haven't watched. Morricone's music from the '60s and '70s is closely associated with Leone's films and the giallo genre. It’s a blend of violence and lyricism, which I felt was essential to illustrate the moments of battle between our two guys.
For the second video, I wanted a more intimate feel, and it took me a while to find the right music. I finally settled on the main song by Sharon Van Etten for the movie Past Lives. Besides being a wonderful song, it seemed perfect as it scores a film about two soulmates, connected by something greater, incomprehensible, and eternal. Destiny, perhaps. What could be better to represent that Tadejonas fandom? The song's calm tone helped me arrange the initial images that create parallels (the time trial, victories, defeats, drone shots). Then, in the final part, when the song intensifies, I added the moments of hugs and handshakes.
Finally, for this third video, I was more indecisive about the song choice. I wanted it to accompany moments where Pogacar and Vingegaard have collaborated, taking relays. I wanted a song that wasn't too sad (I discarded Delerue's for Le Mépris and Sakamoto's for The Sheltering Sky), nor too long (which is why I also discarded my first choice, the OST of Drive My Car by Eiko Ishibashi). In the end, I guess the music from La Jetée is a fantastic option because it’s ethereal and eventually transports you to a place beyond this time. That’s what I wanted to achieve, within my humble abilities as an "editor": aerial shots, dreamlike landscapes, and unreal and magical images. Additionally, in the central part, I tried to relate them, Tadej and Jonas, with a tone in the music—deeper for Tadej, higher for Jonas.
I need to rest now. I hope you enjoy it.
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nitrateglow · 1 year ago
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Halloween 2023 marathon: 9-11
The Slumber Party Massacre (dir. Amy Holden Jones, 1982)
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A serial killer breaks free from jail, but the local high school population could not care less. There's sex to be had and joints to be smoked at the latest slumber party. Anyone not invited to the party either aims to crash it (the horny high school boys) or stay at home trying not to think about how uncool they are (the new girl who's better at basketball than her catty peers). All will be drawn together once the killer makes his way into town with a handy power drill that totally won't be used inappropriately.
I saw this movie for the first time earlier this year and immediately fell in love with its goofy charm. Apparently, it was written to be a parody of slasher tropes. The movie isn't played for broad comedy, but the humor is ever present in both overt and subtle ways. There's also a blend of cattiness and affection between the female characters that reminds me of the sorority house dynamics of Black Christmas, and the dialogue is often hilarious.
However, for all the humor, there are some creepy moments. The Driller Killer's "love" monologue is skin-crawling-- even if it is followed by a glorious parody of "the killer should be dead but isn't" trope.
This is one I love showing to other people. Everyone usually falls over laughing by the end, so it's a great group movie, but even alone, it's a fabulous time. You can currently catch it on Tubi for free.
Eyes of Laura Mars (dir. Irvin Kershner, 1978)
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Controversial fashion photographer Laura Mars starts having psychic visions of the murders of her associates right as the crimes are being committed. She and everyone she knows become suspects of the slayings. The police find it particularly interesting that Laura's photos, which pair high fashion with images of murder and violence, resemble the subsequent crime scenes. Confused and feeling guilty, Laura teams up with cynical investigator John Neville, hoping to track down the killer before she or anyone else she loves becomes the next target.
This is a new-to-me horror film I caught on Tubi. All I knew about Eyes of Laura Mars is that it was directed by Irvin Kershner, a journeyman filmmaker best known for The Empire Strikes Back, and written by John Carpenter (though tampered with by many before shooting began). The movie is essentially an American spin on the Italian giallo genre. You have the familiar setting of the fashion world, sexy models who become murder victims, a hapless protagonist drawn into the mystery, and some very nasty kills.
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There's a lot I like about this film, but in the end it didn't completely work for me. Maybe it's because unlike the best giallo, the movie doesn't have that otherworldly, psychedelic vibe that makes an audience able to swallow the sillier parts of the story. This is a very grounded, gritty presentation of New York City, making the more outrageous things in the film (like the unexplained psychic powers) stand out and not in a good way. Faye Dunaway's performance also verges into unintentional camp, with her wailing like she's in a 1940s melodrama much of the time. And I love melodramatic 1940s movies with appropriately overheated performances, but when the rest of your story is trying to be more realistic, that approach just takes me out of it because it doesn't gel. (Don't even get me started on the final twist, which I can't decide if I find laughable or clever.)
And yet, this is hardly a bad film. What frustrates me so much about it is that there's a lot that's pretty great. The supporting characters aren't the deepest in the world, but they are likable, so when they got picked off, I actually felt something. The movie also has an appealing time capsule element in its presentation of NYC during the height of the disco era. The fashions and the music are dated in the best way.
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Despite my complaint about Dunaway's campy moments, Laura Mars is an interesting protagonist. She takes her art very seriously despite the derision she receives from her critics. She doesn't allow anyone to push her around, be it her boozy ex-husband, hostile reporters, or the police. She clearly loves the models, make-up artists, and other associates who work with her, and Dunaway does well lending a genuine sense of bereavement to the character as her social circle gets picked off one by one. However, I feel like the movie doesn't do much with her and she doesn't really have an arc.
I just really wish this film were a better version of itself. However, I can definitely see myself rewatching it someday, so maybe knowing the twists will make me better appreciate what is there. I don't know.
The Curse of Frankenstein (dir. Terence Fisher, 1957)
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From adolescence, Baron Victor Frankenstein has had one dream: to cheat death. He and his research partner Paul Krempe delve into the mysteries of life, managing to reanimate a dead dog. Paul is satisfied with this achievement, but like a Disney Princess, Victor wants more. Like, creating a superbeing from bits and pieces of corpses more. This does not end well. At all.
It isn't spooky season without some Hammer Horror. I really have a hard time picking a favorite Hammer film, but The Curse of Frankenstein is definitely up there. Peter Cushing is so perfectly amoral and charming as Victor Frankenstein. I love Colin Clive in the Universal movies, but Cushing is my favorite in the part.
I've always admired how this movie sets itself apart from the Universal series without overdoing the opposition. The Universal movies were influenced by 1920s German expressionism, whereas the Hammer films go for more of a Victorian gothic meets explicit (by 1950s standards) sex and gore vibe. The sets and costumes are always wonderful in these films. I really love Cushing's glorious jackets, particularly the emerald green one.
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<spoilers down below-- beware!>
Curse is also interesting for its frame narrative with Frankenstein telling the story from prison the hour before he is to be guillotined for his crimes. No one believes there was ever a creature and Victor wants everyone to know that, hey, he didn't commit ALL the murders. What's most fascinating about the frame story is the way it presents Paul, Victor's former tutor and research partner. Throughout the story, Paul is an unheeded voice of conscience tormented by the crimes Victor commits to achieve his goals. It's also implied Paul is in love with Victor's fiancee Elizabeth, and that this passion ignites further resentment against Victor on Paul's part because Victor clearly does not care about Elizabeth at all but is going to marry her anyway.
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The film ends with Victor begging Paul to tell the authorities about the Creature, but Paul acts as though Victor is insane or just making it all up. He doesn't want to save Victor-- but is that because he wants to see justice done? Or is he also tight-lipped because he wants to secure Elizabeth for himself and knows she'll feel too duty-bound toward Victor (who supported her and her destitute aunt during Elizabeth's childhood) to break off the engagement unless the groom-to-be is, well, headless? It's a wonderfully ambiguous touch and it makes Paul more than just a nagging moral center.
<spoilers over>
Anyways, this is a perfect Halloween movie. Don't miss it if you've never seen it!
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ecargmura · 11 months ago
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Metallic Rouge Episode 4 Review - Verde The Phantom
Metallic Rouge’s strongest points are characters and animation while its weakest aspect is the story. It’s already been four episodes yet I have no idea what the heck is going on. Important details are shown but never told—I feel like the writer is expecting the viewers to dissect everything going on without explaining. Maybe I’m too stupid to understand? Regardless, I am not dropping this because I don’t really like dropping shows. Maybe it’ll get better, who knows?
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From what I can tell, there was a bit of an invasion in the Nean community. Soldiers attacked and took some of the Neans prisoner. Rouge is suspected to be Yuval’s murderer. Naomi suggested she escape, but she refuses as she wants to stay to let Verde find her as she believes someone associated with him is a mole.
It sucks to see so much oppression with Neans. Given that this could be only 12-13 episodes long, Nean rights probably won’t be dived in too much as a topic, I feel like. I mean, Rouge is a Nean herself, but it does feel weird to see her fight for other Neans when she’s rather detached from her own people. However, people like Lion do exist. They could either be supportive or could be someone who betrays his own people for selfish purposes. While I still do feel bad that he got killed, he did kind of deserve it.
Naomi shows that she has combat skills. Her kicks are strong enough to catch Giallo off guard. I do like that she has self-defense skills. Though, it does make sense why she doesn’t use them as much as her opponents are either crazy people or androids who are much more powerful than her. Other than that, I do like how Naomi essentially mimics Rouge in that she sees a human and a Nean duo and asks them to help her get into the community. This time, she meets Ash Stahl and his Nean assistant. They’re on the lookout for the red Nean, aka Rouge.
I actually did NOT see Afdal being Verde. It makes sense when thinking about it, but given that I was trying to comprehend the plot, so the foreshadowing flew over my head. Verde reminds me of the Pokemon Scyther because of the green body and the knife-like hands. I feel like having him die feels more saddening as he has been present since Episode 2.
What I learned from The Case Study of Vanitas is that anything circus related is NOT to be trusted. The pig-tailed lady is definitely not to be trusted at all. Will Naomi and Rouge be reunited? What did you think about the episode?
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kowarth · 1 year ago
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Tagged by @pers-books
Last listened to: Scott Bradlee's Postmodern Jukebox Blue Mirror
Reading: the Zygon Invasion by Peter Harness
Watching: Season 2 of Good Omens and Arrow Videos's Giallo Essentials collection.
Current obsession: @technicallywrite 's Cosmogate saga
Tagging @tea-with-miss-smith @wildphoenixofthe80s - with absolutely no obligation to participate as usual.
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sbknews · 2 years ago
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Special Liveries for the Official WorldSBK and MotoGP Teams for the Misano Races
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The return of Giallo Ducati: special liveries for the official WorldSBK and MotoGP teams for the Misano races. Ducati pays tribute to its history in the world of racing by announcing that both the official WorldSBK (Aruba.it Racing – Ducati Team) and MotoGP (Ducati Lenovo Team) teams will compete in the Misano rounds of their respective World Championships with a special livery characterized by the return of Giallo Ducati colour.
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The project was presented during a press conference held at the Misano World Circuit Marco Simoncelli in which Centro Stile Ducati Director Andrea Ferraresi took part together with the Italian designer Aldo Drudi, the man who created the special livery . The unveiling for the fans took place shortly before the formation lap of Race-1 of the Italian WorldSBK round, when the Aruba.it Racing – Ducati Team opened the garage door and the official riders, World Champion Alvaro Bautista and teammate Michael Ruben Rinaldi, entered the track astride their respective Panigale V4 R in Giallo Ducati with race suits coordinated with the shades of the bike.
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Yellow is a colour that has an important tradition in the history of the Bologna-based motorcycle manufacturer. The first sport motorcycles in this colour date back to the first half of the '70s (the 750 Sport and 750 SS Desmo of the Spaggiari team), but it was in the '90s that Giallo Ducati, the colour that specifically inspired this livery, had the moment of greatest popularity with the adoption in the world of racing, which then extended to series production. The memorable models in Giallo Ducati certainly include the Ducati 748, whose racing version took Paolo Casoli to victory in the 1997 edition of the Supersport World Series, without forgetting superbikes such as the 916, 996, 749, 999 and other various models in the range.
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“Ducati has an extraordinary history of which its passionate fans are extremely proud. The yellow colour is an important part of this and we have chosen to celebrate it through a contemporary livery full of energy. – declared Andrea Ferraresi, Ducati Centro Stile Director - Colour is an essential ingredient for brand recognition and a fundamental element for all Ducatisti. Ducati is Red, but Yellow also belongs to us and at the same time has an important tradition in Italian motorsport. Giallo Ducati reflects important aspects of our identity, such as energy, enthusiasm and audacity and is a really nice tribute to our sporting history in the year in which we race as World Champions in the two most important motorcycle championships".
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From a chromatic point of view, the livery of the Panigale V4 R of the Aruba.it Racing – Ducati Team has been designed starting from the original graphic base. Giallo Ducati becomes the dominant colour of the bike and is crossed by black, grey and white blocks and lines, creating a combination that celebrates the sporting history of the Bologna-based motorcycle manufacturer, but at the same time gives Giallo Ducati a modern identity. For more Ducati news check out our dedicated page Ducati UK News or head to the official Ducati UK website ducati.com/gb/en/home
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Read the full article
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cosmic--marmalade · 2 years ago
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Hallo Briar!
Do you have a favorite horror movie?
What is your favorite horror franchise?
<3 - Mitch
Hi Mitch!!
7. Yes I do, it's Suspiria (1977)! Giallo horror movies are some of my favorite because of their dedication to over the top visuals, and therefore their campiness. It's just so oooooooooo tasty to me. I think the 2018 remake is really good too. I like that while retelling essentially the same story the movie also engages in some really fascinating explorations of themes that aren't necessarily present in the original film, but rather are elaborated on and extrapolated from the original material. It's hard to watch in that its visuals are grounded but the 1977 film is grosser overall, in my opinion lol, because it leans into practical visual effects that just feel tangible groddy.
8. So here's the thing, I'm not just a monsterfucker. I'm also a slasherfucker (womp womp). As much as I would love to say like idk, Hellraiser (because wow what a set of movies huh, we love psychosexual religious turmoil here), or even Scream (everything after the second one sucks to me idk sorry), I have to go with Halloween (Michael Myers my beloved). It's stupid, it's schlocky, the first time I watched it I was so caught up in how Big and Strong Michael was that I didn't even get tense. That whole franchise, as crazy bad and meandering as it gets, is like a feast for me. In an effort to keep Michael relevant the franchise goes in some wildly bad directions, and I don't even care! I get to watch this Big Scary Man wreck house for 2 hours!! Nice!! Why did they make him attached to a satanic cult in the 4th one?? Idk!! Why did they make him the father of his niece's child?? Beats me man!! WHY DIDN'T THEY MAKE CORY FUCK THAT OLD MAN IN THE NEW ONE??? IDK!!!BUT THEY SHOULDA!!! Anyways I'm a simp.
I promise I watch indie horror and high brow horror too but I really am a sucker for my schlocky faves.
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goryhorroor · 1 year ago
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masterpost of horror lists
here are all my horror lists in one place to make it easier to find! enjoy!
sub-genres
action horror
analog horror
animal horror
animated horror
anthology horror
aquatic horror
apocalyptic horror
backwoods horror
bubblegum horror
campy horror
cannibal horror
children’s horror
comedy horror
coming-of-age horror
corporate/work place horror
cult horror
dance horror
dark comedy horror
daylight horror
death games
domestic horror
ecological horror
erotic horror
experimental horror
fairytale horror
fantasy horror
folk horror
found footage horror
giallo horror
gothic horror
grief horror
historical horror
holiday horror
home invasion horror
house horror
indie horror
isolation horror
insect horror
lgbtqia+ horror
lovecraftian/cosmic horror
medical horror
meta horror
monster horror
musical horror
mystery horror
mythological horror
neo-monster horror
new french extremity horror
paranormal horror
political horror
psychedelic horror
psychological horror
religious horror
revenge horror
romantic horror
dramatic horror
science fiction horror
slasher
southern gothic horror
sov horror (shot-on-video)
splatter/body horror
survival horror
techno-horror
vampire horror
virus horror
werewolf horror
western horror
witch horror
zombie horror
horror plots/settings
road trip horror
summer camp horror
cave horror
doll horror
cinema horror
cabin horror
clown horror
wilderness horror
asylum horror
small town horror
college horror
plot devices
storm horror
from a child’s perspective
final girl/guy (this is slasher horror trope)
last guy/girl (this is different than final girl/guy)
reality-bending horror
slow burn horror
possession
pregnancy horror
foreign horror or non-american horror
african horror
spanish horror
middle eastern horror
korean horror
japanese horror
british horror
german horror
indian horror
thai horror
irish horror
scottish horror
slavic horror (kinda combined a bunch of countries for this)
chinese horror
french horror
australian horror
canadian horror
decades
silent era
30s horror
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watching-pictures-move · 2 years ago
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Movie Review | Single White Female (Schroeder, 1992)
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This review contains mild spoilers.
I don't know how much this comes across in my writing, but I am not good at making new friends in real life. I am frequently socially awkward. I am usually not sure how much I want to open up and make myself vulnerable, so I can come across as either cold or a lousy conversationalist, or worse, downright weird. And when I do manage to make friends, there's sometimes a certain lingering insecurity, a question of whether they consider me to be as close a friend to them as I consider them to me that nags at the back of my neck. I think one of the reasons I find online interactions easier is that, depending on where you are on the internet, you're presenting that interiority up front, allowing people to get a sense of who you are and what interests you have before they begin talking to you, that helps cut out that initial awkwardness.
These are things that I was chewing over during the first act of Single White Female, which I think captures this tension in the Jennifer Jason Leigh character. When we first meet her, there's a certain ambiguity over whether this person is just awkward, overeager, excited to make a new friend, or whether this person really is insane. We see her gently insinuating herself into the life of Bridget Fonda's heroine, in ways that cross boundaries but with uncertain intent, but we see Fonda essentially do that same thing, as she starts going through Leigh's things when she thinks she isn't looking. This is a lot more invasive than going through someone's online posts and pulling up their social media profiles, but perhaps the impulses behind them aren't too far apart. When Fonda makes the decision to get back with her fiance, after Leigh has clung to her so closely and begun shaping her identity around her, I didn't find it hard to understand why Leigh would view this as a betrayal.
Leigh plays this material empathetically, and her performance is the primary reason to watch this movie. I am less enamoured, however, with the way the movie frames her. There are forebears for this movie's premise, but I don't get the sense the movie wants us to fully identify with Leigh's character, eyeing her from a distance, likely so it can function as a thriller through its initial ambiguity, but failing to implicate us in either her or the heroine's actions and motivations, like, say, Alfred Hitchcock was wont to do. My familiarity with Barbet Schroeder's work is limited to his documentaries, and perhaps there are similarities in how both this and General Idi Amin Dada gawk at their deranged subjects, but I think that works better in the unyielding pitch black cringe comedy framework of the other movie than in the slickly crafted thriller mode this movie operates in.
The style can likely be described as gentrified giallo, having some of the same verve and appeals to warped psychology, but never really committing to the perversity or externalizing the characters' headspace. The movie is far from sexless, but doesn't go in the more perverse directions that Hitchcock or one of the Italians could have taken it in. ("Not perverted enough" is another complaint coming out of my garbage viewing habits, although this time I can cite some classier directors.) There are appeals to yuppie anxieties, but no real sense of economic insecurity from either character (although these strains do allow the movie to introduce a nicely unctuous Stephen Tobolowsky performance). I feel like I am watching something play out from a distance, not like something is happening to me. But like I said, there is some good thrillering here, with two of its best moments (a chipper conversation where the heroine turns out to be gagged and duct taped to a chair, and an anguished monologue revealed to be a suicide note the villain is dictating) hinging on reversals, and at least one shot that looks suspiciously like a key image from Nightdreams. I have no idea if Schroeder's seen that other movie, but it's fun to speculate.
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quindirecords · 1 month ago
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Baldruin - Mosaike Der Imagination [QUI015]
Turning their gaze to the buoyant culture of wyrd, modernist German folk music, Quindi welcome a spectacularly idiosyncratic offering from Johannes Schebler, aka Baldruin. Bewildering narrative twists, high drama and intricate delicacy make Mosaike der Imagination an engrossing listen from the outset, as baroque atmospheres and tumbledown drums intertwine with tactile string plucks and needlepoint synthesis in an authoritative bridging of ancient and hypermodern sonic sensibilities.
Schebler's catalogue as Baldruin is extensive, reaching back to the late 00s and covering a lot of ground through cassette albums on respected underground labels like SicSic, A Giant Fern and Lullabies For Insomniacs. Meanwhile, his work has been recognised as part of a broader movement of experimental electronic music in Germany taking inspiration from folk traditions, as documented on last year's essential Bureau B compilation, Gespensterland. Beyond his solo work, Schebler also works with Jani Hirvonen as Grykë Pyje (mappa), and both collaborate with Paul Wilson as Yayoba (Not Not Fun). Christian Schoppik of leading dark folk project Brannten Schnüre joins him as Freundliche Kreisel (STROOM). It's a tangled, fascinating and evocative sound world which Mosaike der Imagination offers a compelling window into.
No two tracks on the album follow the same pattern or palette, whether gliding through the Giallo synth undulations and post rock tonal arcs of 'Stimme des Wegelagerers' or spelling out miasmic incantations through flickering flames on 'Aus dem Feuer, aus dem Licht'. 'Hinein, hinaus, hinüber' revolves around meditative drum mantras and cascading melodic phrasing, densely layered and evolving with purpose. 'Gemeinsam hindurch' flicks between swooping strings and pizzicato plucks in a purely romantic expression of orchestration, 'Mit verbundenen Augen' is a bewildering choral voice study and 'Im Sternstrom' revels in ecstatic synth arpeggios. Nothing can be predicted except the vibrancy and clarity of Schebler's vision.
It's a vision which extends to the front cover artwork for Mosaike der Imagination — a glorious tapestry created by Finnish artist Jan Anderzén, with a responding design and layout from Schebler adorning the rear sleeve.
Stepping to the side of the cosy daydream reveries that inhabit much of the Quindi output, Mosaike der Imagination indulges the label's penchant for sophistication in a freakily fascinating new framework from the heart of an exciting movement in experimental folk music. 
Recorded in Wiesbaden, Germany by Johannes Schebler
Mastered by Giuseppe Ielasi
Cover Artwork "Rauniot" by Jan Anderzén
Layout by Johannes Schebler
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theultrablog · 2 months ago
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Pulp Storytime #54: Waters of Venice!
Two rich girls versus a floating city of fascists. This was a two-hander adventure between mystic orphan Devika Velyapur and Gertrude Contessa “Trudy” Truman. A rich girl reporter first introduced as Florence's constantly imperiled girlfriend, she and Devi had instant chemistry. (We nearly had three players. A player arrived late with notice, said one sentence in character, then had a family emergency. It was the least gaming I’ve seen out of someone who actually showed up.) April, 1935. Devika was in Venice for a fashion show. The fascist government was trying to whitewash its image, and that meant beautiful foreign models and ridiculous outfits. The Hyderabadi girl ruled the runway in a variety of bird-themed outfits, posing for the cameras and quick-changing behind the curtain. As you’ll see, this adventure had a huge number of outfit changes. On the way back to the hotel, Devi pestered Trudy about an exclusive interview. The Aussie countered that she had already interviewed D after the last adventure, and the girl hadn’t done anything new interesting! Being notable was the cost of appearing in the newspaper. The streets were starting to flood though… Maybe the duo should head to the hotel for a change of clothes? Caccola stopped them in the lobby. Who’s he? Apparently a kid who’d been robbed of a family artifact! Trudy sensed BS though, getting the kid to admit that the “thieves” had stashed it in an active church. “Sounds notable,” offered Devi. (She also said some complicated intellectual stuff, and mean mugged the kid when he made faces at her!) There’s an old saying in journalism: if your mother says she loves you, check it out. Trudy Truman wasn’t going to take the word of a waif, and her initial contacting revealed a few fun facts: *He was a member of the blackshirt kids brigade. *The boy’s name was Italian for booger. * Steel Eagle, the Tibetan spirit of the Bronx, was in the city for a “cultural exchange” but had been tactfully uninvited from all of the events. He and his sidekick (Eddie-Jim Pulaski) were day drinking in a taverna. And they’d be happy to accompany the ladies!
The quartet made their way to the Church of San Zaccaria. Inside were tessellated tiles and amazing frescos. Trudy worked her charm on the priest, who gave the players more info: a leader named Commander Giallo was after them. Inconvenient! Devi sensed the artifact in the basement; the implication of a large donation gave the group privacy in the crypts. The place was half flooded (there’s a reason most places in Venice don’t have basements!), but the group continued. When they extracted the artifact, the room started to flood and the upstairs door locked! The group swam to the stairs, where Steel Eagle used his special “Fordham crowbar strike” to break the door. In the main church, the kindly father was being held at gunpoint by Giallo! They gave over the artifact, no one would get hurt. Sure, Devika could probably warp his mind with her psionic whammy… but that might give the game away. Instead, Trudy used an essential journalism skill… Blathering. First, she didn’t know if she or Devika had the artifact, did anyone know who had it? And second, they might’ve grabbed the wrong thing, could he describe the artifact? When Giallo’s focus was completely gone, Steel Eagle threw him a Bible… Then punched him in the face, caught the Bible, and delivered a spin kick. “Proverbs 13:24!” The group led the priest to safety, throwing coins across the square to cause a traffic jam and deny pursuit. At the hotel (and after another costume change), Devika and Trudy got deep. The kid millionaire opened up about her birth parents, her alienation, her suppressed crush on Penny… they were about to make a breakthrough when Steel Eagle knocked on the door. “Guys in bird masks are watching you.”
Trudy headed to the roof and scanned a full 360° around the city. (+4 base notice and an additional +4 on the dice for a perfect epic result; musta been one one of those Assassin’s Creed style synchronizations.) Not only did she notice every rooftop masquerader… she also saw the one hiding behind the hotel’s chimney. He explained that he was the leader of the Brotherhood of the Wave, the Fratellanza dell'Onda; since the city’s founding, they had kept it safe with the help of an Atlantean artifact. Mussolini’s goons wanted it, and they already had half. Not only did they need the fascist’s piece, but there was a secret word that was printed on the top of the Bible held by the lion on top of a huge pillar in Saint Mark’s Square. Without all three things, massive floods were imminent. The group split up duties: Trudy called in favors to set up a meeting between the local authorities and the “international fascist friendship league.” Devi hired a tour group to make trouble at the far end of the square, giving the Steel Eagle time to climb and study the lion. After dinner, it was time for the final costume change of the adventure! Devi had up uniforms for the entire group, with faux leather accouterments and angular fits. She also gave herself a fake mustache; “no one wants to pick a fight with a dangerous midget.” A bit of blathering and the plan went perfectly! Perfectly except for the part where after cutting the power, the girls discovered that the only escape route was out the balcony window and into the canal. The two left (Miss Velyapur going first, Trudy following and quipping “When in Rome...”). Devi sighed as her mustache floated away. Oddly enough, the two were instant experts at gondoliering, easily escaping their pursuers. They made their way to the secret anti-fascist gondolier clubhouse and got dry clothes (oops, another costume change!), then rendezvoused with the order. Venice was saved. No thanks to Booger.
Trudy:
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