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saturnidaes · 7 months

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The Killer Nun (1979)

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memoriastoica · 2 years

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Killer Nun (1979)

#killer nun #1979 #suor omicidi #giulio berruti #enzo gallo #antonio maccoppi #nunsploitation #horror #film #cinematography #anita ekberg #joe dallesandro #alida valli #paola morra #italian #italian cinema

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letterboxd-loggd · 2 years

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Killer Nun (Suor Omicidi) (The Killer Nun) (1979) Giulio Berruti

August 7th 2022

#killer nun #suor omicidi #the killer nun #1979 #giulio berruti #anita ekberg #paola morra #joe dallesandro #massimo serrato #lou castel #louis castel #daniele dublino #laura nucci #alida valli

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schlock-luster-video · 2 years

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On July 28, 1980 Killer Nun deuted in in Brazil.

Here's some new art to mark the occasion!

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bens-things · 2 years

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Killer Nun (1979) dir. Giulio Berruti

#Killer Nun #Suor Omicidi #Giulio Berruti #movie night #spooktober

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fettesans · 6 months

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Top, screen capture from Killer Nun (Suor Omicidi), directed by Giulio Berruti, 1979. Bottom, Xandra Ibarra, Free To Those Who Deserve It (series), 2020, silicone, jewelry, syringe needles, clarinet ligature, tent stake, vise, pigment, dimensions variable. Via.

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There was a time when irony was supposed to have died—when Americans, frightened and weary, worried that the world had robbed them of their constitutional right to laughter. They needn’t have fretted: Irony—satire—political discourse that operates through the productive hedge of the joke—have not only evaded death in past decades; they have, instead, been enjoying a renaissance. Jokes have informed many prominent, though certainly not all, political protests; they have also, more broadly, come to shape the way people understand the world around them. Many Americans get their news filtered through late-night comedy and their outrages filtered through Saturday Night Live. They—we—turn to memes to express both indignation and joy. Jokes, in other words, with their charms and their appealing self-effacement and their plausible deniability (just kidding!), are helping people to do the messy work of democracy: to engage, to argue, and, every once in a while, to launch a successful bid for the presidency of the United States.

Scrolling through Instagram to see the pictures from the March for Science, I marveled at the protest’s display of teasing American wit. (“Remember polio? No? Thanks, science!”) And then I thought of Neil Postman, the professor and the critic and the man who, via his 1985 book Amusing Ourselves to Death, argued preemptively against all this change-via-chuckle. Postman wasn’t, as his book’s title might suggest, a humorless scold in the classic way—Amusing Ourselves to Death is, as polemics go, darkly funny—but he was deeply suspicious of jokes themselves, especially when they come with an agenda. (...)

Postman today is best remembered as a critic of television: That’s the medium he directly blamed, in Amusing Ourselves to Death, for what he termed Americans’ “vast descent into triviality,” and the technology he saw as both the cause and the outcome of a culture that privileged entertainment above all else. But Postman was a critic of more than TV alone. He mistrusted entertainment, not as a situation but as a political tool; he worried that Americans’ great capacity for distraction had compromised their ability to think, and to want, for themselves. He resented the tyranny of the lol. His great observation, and his great warning, was a newly relevant kind of bummer: There are dangers that can come with having too much fun. (...)

Postman was a postmodernist who was uniquely suspicious of postmodern thought, and he worried, as Daniel Boorstin had before him, that our images had come unmoored from our fuller realities—and that people, being tied to them, were similarly adrift. He saw a world in which Americans were made pliant and complacent because of their cravings for distraction. He knew that despots often used amusement to soften and systematize their seizings of power. He worried that television—an environment where facts and fictions swirl in the same space, cheerfully disconnected from the world’s real and hard truths—would beget a world in which truth itself was destabilized. “In a print culture,” he argued, “writers make mistakes when they lie, contradict themselves, fail to support their generalizations, try to enforce illogical connections. In a print culture, readers make mistakes when they don’t notice, or even worse, don’t care.”

Megan Garber, from Are We Having Too Much Fun?, for The Atlantic, April 27, 2017.

#diptych #safe new world #linked excerpts

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title777 · 13 days

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Anita Ekberg

watched:

to watch:

Screaming Mimi 1958

La dolce vita 1960

Boccaccio '70 1962

Call Me Bwana 1963

4 for Texas 1963

Come imparai ad amare le donne 1966

Malenka 1969

Casa d'appuntamento 1972

Suor Omicidi 1979

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thehorrorreturns · 8 months

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The Horror Returns - Episode #381: Killer Nun (Suor Omicidi) (1979) & The Nun II (2023)

It's finally here! Brian and Phill discuss the new Nun movie and the Italian horror classic (?) Killer Nun (Suor Omicidi).

The Horror Returns Website:

https://thehorrorreturns.com

THR YouTube Channel: https://youtube.com/@thehorrorreturnspodcast3277

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https://www.patreon.com/thehorrorreturns

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https://www.facebook.com/thehorrorreturns/

Join THR Facebook Group:

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https://www.teepublic.com/user/the-horror-returns

SK8ER Nez Podcast Network:

https://www.podbean.com/pu/pbblog-p3n57-c4166

E Society Spotify For Podcasters:

https://podcasters.spotify.com/pod/show/esoc

E Society YouTube Channel:

https://youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A

Music By:

Steve Carleton Of The Geekz

#TheHorrorReturns #TheHorrorReturnsPodcast #THRPodcastNetwork #Horror #HorrorMovies #HorrorFilms #HorrorTelevision #HorrorSeries #HorrorFamily #HorrorCommunity #HorrorPodcast #Podcast #Podcasting #PodLife #PodernFamily #PodcastHQ #PodNation #MutantFam #KillerNun #SuorOmicidi #GiulioBerruti #TheNunII #TheConjuringUniverse #MichaelChaves

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uspiria · 3 years

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