Andreas Ehrenreich wishes to thank the late Professor Elisabeth Büttner, former Head of the Department of Theatre, Film and Media Studies at the University of Vienna, Georg Gappmayer, the mayor of Tamsweg, Heidi Neumann, Wolfgang Pfeifenberger, Franz Lüftenegger from the Salzburg Economic Chamber, the Austrian Students’ Union, Robert Wimmer from the Lungauer Kulturvereinigung, David Krych, Joachim Schätz, Katharina Schätz, Thomas Hödl, Klaus Heitzmann, Tim Cole, Andrey Arnold, Sebastian Freudenschuss, Benjamin Kuess, Theresita Khan, Johann Kremser and Alexander Wilczek from Moosham Castle, Ulrich Mannes from Siggi Goetz Entertainment, Markus Lust from Vice Alps, Christian Strasser from the Salzburger Nachrichten, Paul Poet as well as Dieter Menz and Stefan Menz from Atlas International. Above all, he would like to thank Professor Susanne Weigelin-Schwiedrzik, former Vice Rector for Research and Career Development of the University of Vienna, who supported this project from the very beginning, Erika Blanc, Michael Holm, Joyce Hoven, Percy Hoven and all the conference speakers and contributors to this issue of the Cine-Excess eJournal.
All screen grabs of Mark of the Devil stem from the Austrian Blu-ray released by Turbine Medien in 2012 who we would thank for allowing us to use this material as well as screen grabs from the Blu-ray’s bonus features. The images in the introduction are screen grabs from Super 8 recordings of the shooting of Mark of the Devil and Mark of the Devil Part II featured in Martin Nechvatal’s documentary Hexenjagd in Mauterndorf. Michael Fuchs’s article “Mark of the Auteur: Mark of the Devil’s Blu-ray Release and the Cult of Authorship” features images of the cover and inlay of Mark of the Devil’s Austrian Blu-ray, designed by N.S.M. Records. Gianluigi Gugliermetto’s article “Christ the Victim and the Representation of Sexualised Pain: A Feminist/Queer Theological Reading of Mark of the Devil” features images of a nineteenth-century reproduction of the icon of the Madonna del Sangue venerated in the village of Re (Val Vigezzo), and the oil on wood crucifixion scenes by Giotto (1266–1337), which are held by the Musée des Beaux-Arts, Strasbourg, and the Alte Pinakothek, Munich, which have been provided by Wikimedia Commons. Moreover, the article contains images of the punishments of hell from the exterior wall of the chapel of St. Stephen, Giaglione (Turin), by an anonymous painter from the late fourteenth century (photos courtesy of Lorenzo Minaldi), a fifteenth-century depiction of Catherine of Siena, held by the Bibliothèque nationale de France, Paris, flagellating herself before the cross, (Ms All. 34, fol. 4v), the martyrdom of Saint Agatha, a fresco in Castell’Arquato, Piacenza, (photo courtesy of Emanuele Leoni), and Christ in the dungeon depicted in the Calvary of St. Radegund (Styria) (photos courtesy of Nina Schnepf). All images are used by kind permission of the rights holders, who we would like to thank for their approval. The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
In the conference/festivals section of the journal, the still used in Kilian Schmidt’s review of “Spectacular Now: The Politics of the Contemporary Spectacle” is courtesy of the event organisers. Donato Totaro’s review of the 2016 Fantasia International Film Festival contains images of Takeshi Miike (photo provided by Robert Del Tredici), Michael Reich and Michael Pinkney (photo courtesy of Donato Totaro), Donato Totaro and Pat Tremblay (photo provided by Randolph Jordan) and a still from Agonie (provided by director David Clay Diaz).
The editors wish to thank Uwe Huber and Martin Nechvatal for sharing their profound knowledge about our object of study during the preparation of this special issue and would like to give special thanks to Ben Halligan (University of Wolverhampton) and Professor Peter Hutchings (Northumbria University).
All screen grabs of Mark of the Devil stem from the Austrian Blu-ray released by Turbine Medien in 2012 who we would thank for allowing us to use this material as well as screen grabs from the Blu-ray’s bonus features. The images in the introduction are screen grabs from Super 8 recordings of the shooting of Mark of the Devil and Mark of the Devil Part II featured in Martin Nechvatal’s documentary Hexenjagd in Mauterndorf. Michael Fuchs’s article “Mark of the Auteur: Mark of the Devil’s Blu-ray Release and the Cult of Authorship” features images of the cover and inlay of Mark of the Devil’s Austrian Blu-ray, designed by N.S.M. Records. Gianluigi Gugliermetto’s article “Christ the Victim and the Representation of Sexualised Pain: A Feminist/Queer Theological Reading of Mark of the Devil” features images of a nineteenth-century reproduction of the icon of the Madonna del Sangue venerated in the village of Re (Val Vigezzo), and the oil on wood crucifixion scenes by Giotto (1266–1337), which are held by the Musée des Beaux-Arts, Strasbourg, and the Alte Pinakothek, Munich, which have been provided by Wikimedia Commons. Moreover, the article contains images of the punishments of hell from the exterior wall of the chapel of St. Stephen, Giaglione (Turin), by an anonymous painter from the late fourteenth century (photos courtesy of Lorenzo Minaldi), a fifteenth-century depiction of Catherine of Siena, held by the Bibliothèque nationale de France, Paris, flagellating herself before the cross, (Ms All. 34, fol. 4v), the martyrdom of Saint Agatha, a fresco in Castell’Arquato, Piacenza, (photo courtesy of Emanuele Leoni), and Christ in the dungeon depicted in the Calvary of St. Radegund (Styria) (photos courtesy of Nina Schnepf). All images are used by kind permission of the rights holders, who we would like to thank for their approval. The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
In the conference/festivals section of the journal, the still used in Kilian Schmidt’s review of “Spectacular Now: The Politics of the Contemporary Spectacle” is courtesy of the event organisers. Donato Totaro’s review of the 2016 Fantasia International Film Festival contains images of Takeshi Miike (photo provided by Robert Del Tredici), Michael Reich and Michael Pinkney (photo courtesy of Donato Totaro), Donato Totaro and Pat Tremblay (photo provided by Randolph Jordan) and a still from Agonie (provided by director David Clay Diaz).
The editors wish to thank Uwe Huber and Martin Nechvatal for sharing their profound knowledge about our object of study during the preparation of this special issue and would like to give special thanks to Ben Halligan (University of Wolverhampton) and Professor Peter Hutchings (Northumbria University).