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April 5, 2017 | Media Studies | By admin | 0 Comments

By Patricia MacCormack

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Immediately the title of Deep Red speaks only of colour, which expresses content usually in need of 25 CINESEXUALITY a noun. ‘Red’ is formless. As a murder mystery giallo it relies on narrative and forms as clues, but there are asignifying interjections that exploit cinematic expressiveness. Early in the film, psychic Helga Ullman (Macha Méril) sits on stage predicting future murders. Her words are clearly important. The camera breaks away from mid-shot to a seemingly arbitrary extreme close-up of her mouth dribbling water into the glass from which she has sipped.

Psychiatrist Professor Giordani’s (Glauco Mauri) head is placed on the end of a table and a knife is thrust down vertically to stab the back of his neck. The cinesexual aspect of the scene is evoked because the camera is fixed to the knife and not to the floor, and so the still forms move while the moving form is still. Vertigo through trajectory and velocity occurs, as the spectator, usually situated in a still position, watches the world thrust upward rather than the knife thrust downward. Another example from Argento is his seminal Suspiria (1977), the story of a ballet student trapped in a school which is a coven for murderous witches.

And is Guattari here returning to the binary systems he repudiates? Another question that both contextualizes Guattari’s call to becoming body/woman/homo and contradicts itself asks, should women become woman/homo/body when they are yet to be granted form? Can woman be recognized form without being object of information or exchange, without being ‘(b)its’. This is a serious problem in Deleuze and Guattari’s potential fetishization of ‘woman’, critiqued by Jardine, 34 A CINEMA OF DESIRE: CINESEXUALITY AND ASEMIOSIS Goulimari, Braidotti, Massumi and others.

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