Les Mannequins de Mario Bava: figures réflexives de mannequins dans Six femmes pour l’assassin (Sei donne per l’assassino, 1964), Une Hache pour la lune de miel (Il rosso segno della follia, 1969) et Lisa et le diable (Lisa e il diavolo, 1972)

Abstract

The purpose of this article is to study the motif of the mannequin in three films by Italian director Mario Bava: Blood and Black Lace (Sei donne per l’assassino, 1964),
Hatchet for the honeymoon (Il rosso segno della follia, 1969), Lisa and the Devil (Lisa e il diavolo, 1972). The mannequin is analysed as a symbol, a representation and we also address her part in the plot as well as her relationship to other characters and actors. Through an open, resolutely transdisciplinary approach we purport to understand to what extent the figure of the mannequin is a point of convergence of different meanings and art forms and we endeavour to determine how her crystallisation in such a motif allows to generate ideas which are specific to cinema.