Fernando Gabriel Pagnoni Berns is Professor in the Faculty of Philosophy and Letters at the University of Buenos Aires, Argentina, where he teaches courses on international horror film.

• IntroductionPART I: GIALLO1. Eyes (Propped) Wide Open: Predatory Capitalism as Sadistic Gendered Violence in Argento’s Opera and Four Flies on Grey VelvetEric Brinkman (Indiana University, USA)2. Family Psychology, Mental Illness, and Social Stigma in Trauma Andrew Burt (Gogebic Community College, USA)3. Blindness, Aesthetics, and Radical Contingency in Dario Argento’s The Cat O’ Nine Tails (1971) and Dark Glasses (2022) L. Andrew Cooper (Independent Scholar, USA)4. "Real Dead Bodies": The Death of American Authorship in Dario Argento’s TenebreDerek Graf (New York Institute of Technology, USA)5. Violence in the Streets: Italy’s anni di piombo through La porta sul buio Jorge Traversa (Universidad de Buenos Aires, Argentina) and Guillermo Link (Universidad de BuenosAires, Argentina)6. Has the Yellow Fever Broken: Dario Argento and the 21st Century Giallo Mateja Ðedovic (Independent Scholar, UK)PART II: PHILOSOPHIES OF HORROR7. Dario Argento’s Apollonian-Dionysian DialecticGavin Hurley (Ave Maria University, USA)8. The Signification of Murder in Dario Argento’s Sleepless (2001)Sean Woodard (University of Texas at Arlington, USA)9. Mother’s Mayhem: Abjection and Neurotic Surplus Repression in Dario Argento’s La terza madre Casey Cockrum (Virginia Tech, USA) and Antonio Sanna (University of Westminster London, USA)10. Vulnerabilities of the Super-Natural: Plasticity in Dario Argento’s PhenomenaSony Jalarajan Raj (MacEwan University, Canada) and Adith K Suresh (MacEwan University, Canada)11. Beelzebabes: An Ontological Interrogation of the Nonhuman in Argento’s Phenomena Molly Follette (University of Pittsburgh, USA)12. The Animal Turn in Phenomena, Il fantasma dell’opera, Dracula 3D, ‘Jenifer’ and 'Pelts' Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina) PART III: ADAPTATIONS, HOMAGES13. Art Cinema and the Grotesque: Dario Argento’s Le cinque giornate Clayton Dillard (Texas Christian University, USA)14. Trauma, Metadaptation, and Fidelity’s Recuperative Claim in Suspiria (1977 and 2018)Jamie L. McDaniel (Radford University, USA)15. Galleria Oscura: Paintings in Dario Argento’s Giallo Films Alexandra Heller-Nicholas (Independent Scholar, Australia)16. Virtual/Real Bodies in Lamberto Bava and Dario Argento’s DemoniEmiliano Aguilar (Universidad de Buenos Aires, USA) 17. The Fourth Mother: Postmodernism, Metacinema, and Autobiography in Luigi Cozzi’s The Black Cat Felipe M. Guerra (Independent Scholar, Brazil)18. Iconic Personality: The Public Image of Dario ArgentoMarco Chiaretti (Universidad De Murcia and La Sapienza, Italy)About the ContributorsIndex

Fernando Gabriel Pagnoni Berns is Professor in the Faculty of Philosophy and Letters at the University of Buenos Aires, Argentina, where he teaches courses on international horror film.

• IntroductionPART I: GIALLO1. Eyes (Propped) Wide Open: Predatory Capitalism as Sadistic Gendered Violence in Argento’s Opera and Four Flies on Grey VelvetEric Brinkman (Indiana University, USA)2. Family Psychology, Mental Illness, and Social Stigma in Trauma Andrew Burt (Gogebic Community College, USA)3. Blindness, Aesthetics, and Radical Contingency in Dario Argento’s The Cat O’ Nine Tails (1971) and Dark Glasses (2022) L. Andrew Cooper (Independent Scholar, USA)4. "Real Dead Bodies": The Death of American Authorship in Dario Argento’s TenebreDerek Graf (New York Institute of Technology, USA)5. Violence in the Streets: Italy’s anni di piombo through La porta sul buio Jorge Traversa (Universidad de Buenos Aires, Argentina) and Guillermo Link (Universidad de BuenosAires, Argentina)6. Has the Yellow Fever Broken: Dario Argento and the 21st Century Giallo Mateja Ðedovic (Independent Scholar, UK)PART II: PHILOSOPHIES OF HORROR7. Dario Argento’s Apollonian-Dionysian DialecticGavin Hurley (Ave Maria University, USA)8. The Signification of Murder in Dario Argento’s Sleepless (2001)Sean Woodard (University of Texas at Arlington, USA)9. Mother’s Mayhem: Abjection and Neurotic Surplus Repression in Dario Argento’s La terza madre Casey Cockrum (Virginia Tech, USA) and Antonio Sanna (University of Westminster London, USA)10. Vulnerabilities of the Super-Natural: Plasticity in Dario Argento’s PhenomenaSony Jalarajan Raj (MacEwan University, Canada) and Adith K Suresh (MacEwan University, Canada)11. Beelzebabes: An Ontological Interrogation of the Nonhuman in Argento’s Phenomena Molly Follette (University of Pittsburgh, USA)12. The Animal Turn in Phenomena, Il fantasma dell’opera, Dracula 3D, ‘Jenifer’ and 'Pelts' Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina) PART III: ADAPTATIONS, HOMAGES13. Art Cinema and the Grotesque: Dario Argento’s Le cinque giornate Clayton Dillard (Texas Christian University, USA)14. Trauma, Metadaptation, and Fidelity’s Recuperative Claim in Suspiria (1977 and 2018)Jamie L. McDaniel (Radford University, USA)15. Galleria Oscura: Paintings in Dario Argento’s Giallo Films Alexandra Heller-Nicholas (Independent Scholar, Australia)16. Virtual/Real Bodies in Lamberto Bava and Dario Argento’s DemoniEmiliano Aguilar (Universidad de Buenos Aires, USA) 17. The Fourth Mother: Postmodernism, Metacinema, and Autobiography in Luigi Cozzi’s The Black Cat Felipe M. Guerra (Independent Scholar, Brazil)18. Iconic Personality: The Public Image of Dario ArgentoMarco Chiaretti (Universidad De Murcia and La Sapienza, Italy)About the ContributorsIndex

Fernando Gabriel Pagnoni Berns is Professor in the Faculty of Philosophy and Letters at the University of Buenos Aires, Argentina, where he teaches courses on international horror film.

• IntroductionPART I: GIALLO1. Eyes (Propped) Wide Open: Predatory Capitalism as Sadistic Gendered Violence in Argento’s Opera and Four Flies on Grey VelvetEric Brinkman (Indiana University, USA)2. Family Psychology, Mental Illness, and Social Stigma in Trauma Andrew Burt (Gogebic Community College, USA)3. Blindness, Aesthetics, and Radical Contingency in Dario Argento’s The Cat O’ Nine Tails (1971) and Dark Glasses (2022) L. Andrew Cooper (Independent Scholar, USA)4. "Real Dead Bodies": The Death of American Authorship in Dario Argento’s TenebreDerek Graf (New York Institute of Technology, USA)5. Violence in the Streets: Italy’s anni di piombo through La porta sul buio Jorge Traversa (Universidad de Buenos Aires, Argentina) and Guillermo Link (Universidad de BuenosAires, Argentina)6. Has the Yellow Fever Broken: Dario Argento and the 21st Century Giallo Mateja Ðedovic (Independent Scholar, UK)PART II: PHILOSOPHIES OF HORROR7. Dario Argento’s Apollonian-Dionysian DialecticGavin Hurley (Ave Maria University, USA)8. The Signification of Murder in Dario Argento’s Sleepless (2001)Sean Woodard (University of Texas at Arlington, USA)9. Mother’s Mayhem: Abjection and Neurotic Surplus Repression in Dario Argento’s La terza madre Casey Cockrum (Virginia Tech, USA) and Antonio Sanna (University of Westminster London, USA)10. Vulnerabilities of the Super-Natural: Plasticity in Dario Argento’s PhenomenaSony Jalarajan Raj (MacEwan University, Canada) and Adith K Suresh (MacEwan University, Canada)11. Beelzebabes: An Ontological Interrogation of the Nonhuman in Argento’s Phenomena Molly Follette (University of Pittsburgh, USA)12. The Animal Turn in Phenomena, Il fantasma dell’opera, Dracula 3D, ‘Jenifer’ and 'Pelts' Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina) PART III: ADAPTATIONS, HOMAGES13. Art Cinema and the Grotesque: Dario Argento’s Le cinque giornate Clayton Dillard (Texas Christian University, USA)14. Trauma, Metadaptation, and Fidelity’s Recuperative Claim in Suspiria (1977 and 2018)Jamie L. McDaniel (Radford University, USA)15. Galleria Oscura: Paintings in Dario Argento’s Giallo Films Alexandra Heller-Nicholas (Independent Scholar, Australia)16. Virtual/Real Bodies in Lamberto Bava and Dario Argento’s DemoniEmiliano Aguilar (Universidad de Buenos Aires, USA) 17. The Fourth Mother: Postmodernism, Metacinema, and Autobiography in Luigi Cozzi’s The Black Cat Felipe M. Guerra (Independent Scholar, Brazil)18. Iconic Personality: The Public Image of Dario ArgentoMarco Chiaretti (Universidad De Murcia and La Sapienza, Italy)About the ContributorsIndex