This introductory chapter discusses the theme of this volume which is about crime in Italian films in the early 1960s and late 1970s. It explores the phenomenology and provides a psychoanalysis of the films Blow-Up and The Passenger directed by Michelangelo Antonioni, The Night Porter directed by Liliana Cavani, Oedipus Rex directed by Pier Paolo Pasolini and The Spider's Stratagem directed by Bernardo Bertolucci. These films revolve around the image of the crime scene and present a crime to be “seen” in the folds of the landscape as well as on the faces of people and things. This volume discusses the vicissitudes of cinematic vision through an intermingling of media and proposes a writing of spectatorship that attempts to retrace the patterns and rhythms through which each film says or shows that something “will have been.”
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