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De “Profondo rosso” à “La Terza Madre” : heavy metal et sauvagerie sanguinaire dans l’œuvre de Dario Argento

Abstract : Whether it is a vector of dramatic tension or an element of diegetic contextualization, heavy metal has always played a significant role in cinema. Since the end of the 1970s, Dario Argento has made emblematic use of it: from "Profondo Rosso" (1975) to "La Terza Madre" (2007), the director frequently collaborates with the composer Claudio Simonetti and his progressive rock band Goblin. Even more than in his associations with Ennio Morricone, Argento assumes a total distortion of the soundtrack, then violent and sometimes noisy. The result is a cinematographic style in which the radicality of a metal sound tends to aestheticize the unbridled savagery of serial killers and monstrous creatures. Moreover, this particular look of the Italian director on hard rock and metal music has contributed to shaping a certain horror and horror cinema - witness the choice of saturated timbres in key sequences of "Dawn of the Dead" (Romero, 1978), "Funny Games" (Haneke, 1997) or "Curse of Chucky" (Mancini, 2013). Beyond the world of horror cinema, Argento's achievements occupy a fundamental place in the constitution of an organic link between metal and the seventh art.
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Contributor : Jason Julliot Connect in order to contact the contributor
Submitted on : Sunday, June 26, 2022 - 6:50:02 PM
Last modification on : Monday, June 27, 2022 - 3:31:23 AM


  • HAL Id : hal-03705044, version 1



Jason Julliot. De “Profondo rosso” à “La Terza Madre” : heavy metal et sauvagerie sanguinaire dans l’œuvre de Dario Argento. Musiques sauvages, UniNE / IASPM, Jun 2022, Neuchâtel, Suisse. ⟨hal-03705044⟩



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