Abstract
The essay aims to show the aesthetic and philosophical implications of the polarity between the animation of stone and the petrification of the body through a journey inside fantasy cinema and horror movies. The examples offered by horror movies like The Haunting (Robert Wise), Un Angelo per Satana (Camillo Mastrocinque) and La Venere d’Ille (Mario and Lamberto Bava) re-enact the mythical imagery of the animated statue as the intertwining of simulacrum and living body. Unlike these gothic models, two postmodern masterpieces, After Hours (Martin Scorsese) and Dead Ringers (David Cronenberg), evoke at the same time the ghost of contemporary sculpture and the cinema device as simulacra-producing machine.
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