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            <title xml:lang="fr">De “Profondo rosso” à “La Terza Madre” : heavy metal et sauvagerie sanguinaire dans l’œuvre de Dario Argento</title>
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                <term xml:lang="en">Italian cinema</term>
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              <p>"From "Profondo Rosso" to "La Terza Madre": Heavy Metal and Bloody Savagery in the Work of 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.</p>
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              <p>Qu’il soit vecteur de tension dramatique ou élément de contextualisation diégétique, le heavy metal a toujours joué un rôle signifiant au cinéma . Depuis la fin des années 1970, Dario Argento en fait un usage emblématique : à partir de “Profondo rosso” (1975) et jusqu’à “La Terza Madre” (2007), le réalisateur collabore fréquemment avec le compositeur Claudio Simonetti et son groupe de rock progressif Goblin. Plus encore que dans ses associations avec Ennio Morricone, Argento assume une distorsion totale de la bande-son, alors violente et parfois bruitiste . Il en résulte un style cinématographique dans lequel la radicalité d’un son metallique tend à esthétiser la sauvagerie débridée des tueurs en série et des créatures monstrueuses. Plus encore, ce regard particulier du réalisateur italien sur les musiques hard rock et metal a contribué à façonner un certain cinéma d’horreur et d’épouvante – en témoignent le choix de timbres saturés dans des séquences clés de “Dawn of the Dead” (Romero, 1978), de “Funny Games” (Haneke, 1997) ou encore de “Curse of Chucky” (Mancini, 2013) : par-delà le monde du cinéma d’épouvante, les réalisations d’Argento occupent une place fondamentale dans la constitution d’un lien organique entre le metal et le septième art.</p>
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