The crane, the cat and the housefly: Animals and meaning-making in Dario Argento’s Animal Trilogy

References

1. Adams, Carol J.. ( 2015), The Pornography of Meat, Herndon, VA:: Lantern Books;.
   [Google Scholar]
2. Archibald, George W.,, Meine, Curt D., and Garcia, Ernest. ( 2020;), ‘ Grey crowned-crane: Balearica regulorum. ’, Birds of the World, 4 March, https://birdsoftheworld.org/bow/species/grccra1/cur/introduction. Accessed 12 May 2021.
   [Google Scholar]
3. Argento, Dario. ( 1970), L’uccello dalle piume di cristallo (The Bird with the Crystal Plumage), Italy:: Seda Spettacoli;.
   [Google Scholar]
4. Argento, Dario. ( 1971), Il gatto a nove code (The Cat O’ Nine Tails), Italy:: Mondial and Seda Spettacoli;.
   [Google Scholar]
5. Argento, Dario. ( 1972), 4 mosche di velluto grigio (Four Flies on Grey Velvet), Italy:: Seda Spettacoli;.
   [Google Scholar]
6. Argento, Dario. ( 1975a), Profondo rosso (Deep Red), Italy:: Rizzoli Film and Seda Spettacoli;.
   [Google Scholar]
7. Argento, Dario. ( 1975b), Suspiria, Italy:: Produzioni Atlas Consorziate;.
   [Google Scholar]
8. Argento, Dario. ( 1980), Inferno, Italy:: Produzioni Intersound;.
   [Google Scholar]
9. Argento, Dario. ( 1985), Phenomena, Italy:: DAC Film;.
   [Google Scholar]
10. Argento, Dario, and Romero, George A.. ( 1990), Due occhi diabolici (Two Evil Eyes), Italy:: ADC Films and Gruppo Bema;.
    [Google Scholar]
11. Balmain, Colette. ( 2012;), ‘ The psychoanalytic trap in L’Uccello dalle piume di cristallo/The Bird with the Crystal Plumage, 1970. ’, Horror Studies 3:2, pp. 223–42.
    [Google Scholar]
12. Bava, Mario. ( 1963), La ragazza che sapeva troppo (The Girl with All the Gifts), Italy:: Galeta Film and Coronet;.
    [Google Scholar]
13. Bava, Mario. ( 1964), 6 donne per l’assassino (Blood and Black Lace), Italy:: Emmepi Cinematografica;.
    [Google Scholar]
14. Benbow, S. M. P.. ( 2004;), ‘ Zoos: Public places to view private lives. ’, Journal of Popular Culture, 33:4, pp. 13–23.
    [Google Scholar]
15. Bittman, Mark. ( 2021), Animal, Vegetable, Junk: A History of Food, from Sustainable to Suicidal, Boston:: Houghton Mifflin;.
    [Google Scholar]
16. Bollen, Christopher. ( 2019;), ‘ Dario Argento on turning a lifetime of blood, blades, and pulp into high art. ’, Interview, 17 April, https://www.interviewmagazine.com/film/dario-argento-suspiria-horror-movies. Accessed 4 August 2021.
    [Google Scholar]
17. Bravo, Monica. ( 2018;), ‘ Natural photographs: Optograms and the fiction of captured vision. ’, History of Photography, 42:1, pp. 61–77.
    [Google Scholar]
18. Brown, Frederic. ( 1949), The Screaming Mimi, New York:: Dutton;.
    [Google Scholar]
19. Burke, Frank. ( 2002;), ‘ Intimations (and more) of colonialism: Dario Argento’s L’Uccello dalle piume di cristallo (The Bird with the Crystal Plumage, 1970). ’, Kinoeye, 2:11, http://www.kinoeye.org/02/11/burke11.php. Accessed 17 May 2021.
    [Google Scholar]
20. Burke, Frank. ( 2006;), ‘ Dario Argento’s The Bird with the Crystal Plumage: Caging women’s rage. ’, in A. Burfoot, and S. Lord. (eds), Killing Women: The Visual Culture of Gender and Violence, Waterloo:: Wilfrid Laurier University Press;, pp. 197–217.
    [Google Scholar]
21. Cavara, Paolo. ( 1971), La Tarantola dal ventre Nero (Black Belly of the Tarantula), Italy:: Da.Ma. Cinematographica;.
    [Google Scholar]
22. Coleridge, Samuel Taylor. ( 1798;), ‘ The rime of the ancient mariner. ’, in Lyrical Ballads, with a Few Other Poems, Bristol:: Biggs and Cottle;, pp. 1–52.
    [Google Scholar]
23. Cooper, L. Andrew. ( 2012), Dario Argento, Urbana, IL:: University of Illinois Press;.
    [Google Scholar]
24. Donaldson, Sue, and Kymlicka, Will. ( 2011), Zoopolis: A Political Theory of Animal Rights, New York:: Oxford University Press;.
    [Google Scholar]
25. Edelman, Birgitta. ( 2002;), ‘“ Rats are people, too!” Rat-human relations re-rated. ’, Anthropology Today, 18:3, pp. 3–8.
    [Google Scholar]
26. Edelman, Birgitta. ( 2005;), ‘ From trap to lap: The changing sociogenic identity of the rat. ’, in J. Knight. (ed.), Animals in Person: Cultural Perspectives on Human–Animal Intimacy, Oxford:: Berg;, pp. 119–39.
    [Google Scholar]
27. Evans, Arthur B.. ( 1993;), ‘ Optograms and fiction: Photo in a dead man’s eye. ’, Science Fiction Studies, 20:3, pp. 341–61.
    [Google Scholar]
28. Freda, Riccardo. ( 1971), L’iguana dalla lingua di fuoco (The Iguana with the Tongue of Fire), Italy:: Ocenia Produzioni;.
    [Google Scholar]
29. Fulci, Lucio. ( 1971), Una lucertola con la pelle di donna (Lizard in a Woman’s Skin), Italy:: International Apollo Films and Fina Cinematografica;.
    [Google Scholar]
30. Fulci, Lucio. ( 1972), Non si sevizia un paperino (Don’t Torture a Duckling), Italy:: Medusa Distribuzione;.
    [Google Scholar]
31. Gallant, Chris. (ed.) ( 2000), Art of Darkness: The Cinema of Dario Argento, Guildford:: FAB Press;.
    [Google Scholar]
32. Garner, Robert, and Okuleye, Yewande. ( 2021), The Oxford Group and the Emergence of Animal Rights: An Intellectual History, New York:: Oxford University Press;.
    [Google Scholar]
33. Hanson, Elizabeth. ( 2002), Animal Attractions: Nature on Display in American Zoos, Princeton, NJ:: Princeton University Press;.
    [Google Scholar]
34. Hodges, Mike. ( 1999;), ‘ Riding the horror express. ’, Fangoria, 186, September, pp. 70–75.
    [Google Scholar]
35. Hunt, Leon. ( 2000;), ‘ A (sadistic) night at the opera. ’, in K. Gelder. (ed.), The Horror Reader, London:: Routledge;, pp. 324–35.
    [Google Scholar]
36. Iannone, Pasquale. ( 2014;), ‘ Dario Argento: The interview. ’, Sight and Sound, 24:6, pp. 48–51.
    [Google Scholar]
37. Imhoff, Daniel. (ed.) ( 2010), The CAFO Reader: The Tragedy of Industrial Animal Factories, London:: Watershed Media;.
    [Google Scholar]
38. Ingold, Tim. ( 1994;), ‘ From trust to domination: An alternative history of human–animal relations. ’, in A. Manning, and J. Serpell. (eds), Animals and Human Society: Changing Perspectives, New York:: Routledge;, pp. 1–22.
    [Google Scholar]
39. Kannas, Alexia. ( 2020), Giallo! Genre, Modernity, and Detection in Italian Horror Cinemas, Albany, NY:: SUNY Press;.
    [Google Scholar]
40. Lansca, Douglas J.. ( 2013;), ‘ Optograms and criminology: Science, news reporting, and fanciful novels. ’, in A. Stiles,, S. Finger, and F. Boller. (eds), Progress in Brain Research, vol. 205, Literature, Neurology, and Neuroscience: Historical and Literary Connections, Amsterdam:: Elsevier;, pp. 55–84.
    [Google Scholar]
41. Leonard, Christopher. ( 2014), The Meat Racket: The Secret Takeover of America’s Food Business, New York:: Simon & Schuster;.
    [Google Scholar]
42. Lucas, Tim. ( 2007), Mario Bava: All the Colors of the Dark, Cincinnati, OH:: Video Watchdog;.
    [Google Scholar]
43. Margheriti, Antonio. ( 1973), La morte negli occhi del gatto (Seven Deaths in the Cat’s Eye), Italy:: Falcon International Film;.
    [Google Scholar]
44. Martin, Eugenio. ( 1972), Horror Express, UK:: Granada Films and Benmar Productions;.
    [Google Scholar]
45. Martino, Sergio. ( 1971), La coda della scorpione (The Case of the Scorpion’s Tail), Italy:: International Apollo Films;.
    [Google Scholar]
46. Martino, Sergio. ( 1982), Assassinio al cimitero etrusco (Murder in the Etruscan Cemetery also known as The Scorpion with Two Tails), Italy:: Dania Film and Medusa Distribuzione;.
    [Google Scholar]
47. McDonagh, Maitland. ( 2010), Broken Mirrors, Broken Minds: The Dark Dreams of Dario Argento, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
48. Mendik, Xavier. ( 2015), Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970–1985, Newcastle upon Tyne:: Cambridge Scholars Press;.
    [Google Scholar]
49. Mizelle, Brett. ( 2011), Pig, London:: Reaktion Books;.
    [Google Scholar]
50. Needham, Gary. ( 2002;), ‘ From punctum to Pentazet, and everything in between: Dario Argento’s Il gatto a nove code (The Cat O’ Nine Tails, 1971) and Quattro mosche di velluto grigio (Four Flies on Grey Velvet, 1972). ’, Kinoeye, 2:11, http://www.kinoeye.org/02/11/needham11_no2.php. Accessed 17 May 2021.
    [Google Scholar]
51. Newman, Kim. ( 2000;), ‘ Four Flies on Grey Velvet. ’, in C. Gallant. (ed.), Art of Darkness: The Cinema of Dario Argento, Guildford:: FAB Press;, pp. 105–08.
    [Google Scholar]
52. Pastore, Sergio. ( 1972), Sette scialli di setta gialla (Seven Shawls of Yellow Silk also known as Crimes of the Black Cat), Italy:: Capitolina Produzioni and Cinematografiche;.
    [Google Scholar]
53. Questi, Giulio. ( 1968), La morte ha fatto l’uovo (Death Laid an Egg), Italy:: Summa Cinematographica;.
    [Google Scholar]
54. Ryder, Richard. ( 1989), Animal Revolution: Changing Attitudes towards Speciesism, Oxford:: Basil Blackwell;.
    [Google Scholar]
55. Safina, Carl. ( 2002), Eye of the Albatross: Visions of Hope and Survival, New York:: Henry Holt;.
    [Google Scholar]
56. Samperi, Salvatore. ( 1970), Uccidete il vitello grasso e arrostitelo (Kill the Fatted Calf and Roast It), Italy:: Prodigo Film;.
    [Google Scholar]
57. Siegel, Michael. ( 2011;), ‘ The nonplace of Argento: The Bird with the Crystal Plumage and Roman urban history. ’, in J. D. Rhodes, and E. Gorfinkel. (eds), Taking Place: Location and the Moving Image, Minneapolis, MN:: University of Minnesota Press;, pp. 211–31.
    [Google Scholar]
58. Soavi, Michele. ( 1987), Deliria (Stage Fright), Italy:: DMV Distribuzione and Filmirage;.
    [Google Scholar]
59. Stallybrass, Peter, and White, Allon. ( 1986), The Poetics and Politics of Transgression, Ithaca, NY:: Cornell University Press;.
    [Google Scholar]
60. Talebinejad, M. Reza, and Dastjerdi, H. Vahid. ( 2005;), ‘ A cross-cultural study of animal metaphors: When owls are not wise!. ’, Metaphor and Symbol, 20:2, pp. 133–50.
    [Google Scholar]
61. Totaro, Donato. ( 2010;), ‘ Giallo (2009) vs. Four Flies on Grey Velvet (1971). ’, Offscreen, 14:1, n.pag.
    [Google Scholar]
62. West, Luther S.. ( 1951), The Housefly: Its Natural History, Medical Importance, and Control, Ithaca, NY:: Comstock Publishing;.
    [Google Scholar]
63. Aiello, Thomas. ( 2023;), ‘ The crane, the cat and the housefly: Animals and meaning-making in Dario Argento’s Animal Trilogy. ’, Journal of Italian Cinema & Media Studies, 11:1, pp. 127–43, https://doi.org/10.1386/jicms_00163_1
    [Google Scholar]