Bava Metzia iv. 9d ), Abbahu became not only popular with his coreligionists, but also influential with the proconsular government ( Hagigah 14a ; Ketubot 17a ).

Bava continued with this style throughout his career, crafting numerous films such as Blood and Black Lace and the hugely influential Twitch of the Death Nerve.

In the Babylonian Talmud ( Bava Batra 14B ) Moses writes the first Torah Scroll on the unsplit cow-hide called gevil.

Commentaries ( ḥiddushim ) by Joseph ibn Migash on two tractates, Bava Batra and Shevuot, based on Ḥananel and Alfasi, also survive, as does a compilation by Zechariah Aghmati called Sefer ha-Ner.

In 1988, three volumes were published posthumously on the order of Nezikin, including tractates Bava Kama, Bava Metziah, and Bava Basrah.

Since Manoah was at that time without children, Boaz thought that he did not need to consider on such occasions a childless man who could not pay him back in kind ( Bava Batra 91a ).

Giallo films that follow a murder mystery format include Five Dolls for an August Moon ( 1970 ) by Mario Bava, three by director Dario Argento: The Cat o ' Nine Tails, Four Flies on Grey Velvet ( both 1971 ), and Deep Red ( 1975 ) – as well as A Lizard in a Woman's Skin ( 1971 ), Black Belly of the Tarantula ( 1971 ), Who Saw Her Die?

However the Talmud ( Bava Batra 91a ) asserts that Ibzan is to be identified with Boaz from the story of Ruth, who lived in the Bethlehem of Judah, and that he consummated his marriage with Ruth on the last night of his life.

Ohr Somayach on Talmudic tractates ' Bava Kama ' and ' Bava Metzia '.

Based on Rabbi Lichtenstein's Talmud classes at Yeshivat Har Etzion, his students ' notes have been edited and published as Shiurei Harav Aharon Lichtenstein on Tohorot, Zevahim, the eighth chapter of Bava Metzia, the third chapter of Bava Batra, the Ramban's pamphlet on Dinah DiGarmi, the first chapter of Pesahim and several critical chapters of Gittin.

Bava was originally hired as the cinematographer, but when Freda walked out on the project midway through production, Bava completed the film in several days, even creating the innovative special effects that were needed.

In 1959, Bava completed Caltiki-the Immortal Monster, again for Riccardo Freda, and also worked on the lighting and special effects for Hercules Unchained.

Bava retired in 1978 after co-directing his last horror film, Shock, with his son Lamberto ( although he did some special effects matte work on Dario Argento's 1980 movie Inferno ).

Mario Bava's son Lamberto Bava worked for fourteen years as Bava's assistant director, and went on to become a horror film director on his own.

* Chidushei HaRim on Bava Batra link

During the 1960s and 70s, Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti and Dario Argento developed giallo horror films that become classics and influenced the genre in other countries.

* Italian director and cinematographer Mario Bava was born in Sanremo in 1914.

Mario Bava ( 31 July 1914 – 25 April 1980 ) was an Italian director, screenwriter, special effects artist and cinematographer, remembered as one of the greatest names from the " golden age " of Italian horror films, and is considered to have kick-started the giallo film genre.

The son of Eugenio Bava, a sculptor who became a pioneer of special effects photography and subsequently one of the great cameramen of Italian silent pictures, Mario Bava's first ambition was to become a painter.

Bava completed filming I vampiri for director Riccardo Freda in 1956, now referred to as the first Italian horror film.

Bava co-directed The Day the Sky Exploded in 1958, the first Italian science fiction film.

Bava directed what is now regarded as the first Italian giallo film, The Girl Who Knew Too Much ( 1963 ), and his 1965 sci-fi horror film Planet of the Vampires was a thematic precursor to Alien ( 1979 ).

Several books have been published about Mario Bava: Mario Bava by Pascal Martinet ( Edilig, 1984 ) and Mario Bava edited by Jean-Louis Leutrat ( Éditions du Céfal, 1994 ) in French ; Mario Bava by Alberto Pezzotta ( Il Castoro Cinema, 1995 ) in Italian ; The Haunted Worlds of Mario Bava by Troy Howarth ( FAB Press, 2002 ) and most recently, the massive critical biography Mario Bava: All the Colors of the Dark by Tim Lucas ( Video Watchdog, 2007 ; ISBN 0-9633756-1-X ).

Black Sabbath ( Italian: I tre volti della paura ) is a 1963 Italian horror anthology film directed by Mario Bava.

Some critics, such as Tim Lucas and Alan Upchurch, have also compared Ptushko to Italian filmmaker Mario Bava, who made fantasy and horror films with similarities to Ptushko's work and made similarly innovative use of color cinematography and special effects.

Blastfighter is a 1984 Italian action film by Lamberto Bava starring Michael Sopkiw and George Eastman.

* The Girl Who Knew Too Much ( Mario Bava, 1963 ; Italian: La ragazza che sapeva troppo ) aka The Evil Eye

* Blood and Black Lace ( Mario Bava, 1965 ; Italian: Sei donne per l ' assassino )

* Five Dolls for an August Moon ( Mario Bava, 1970 ; Italian: 5 bambole per la luna d ' agosto )

* Hatchet for the Honeymoon ( Mario Bava, 1970 ; Italian: Il rosso segno della follia / The Red Mark of Madness )

* Twitch of the Death Nerve ( Mario Bava, 1971 ; Italian: Reazione a catena ) aka Bay of Blood

In France, Eyes Without a Face ( 1960 ) continued the mad scientist theme, while in Italy director Mario Bava began his own series of horror films.

Writing in 2000, Tim Lucas wrote that Bava is " the acknowledged smoking gun behind the ' body count ' movie phenomenon of the 1980s, which continues to dominate the horror genre two decades later with such films as Scream, I Know What You Did Last Summer and their respective sequels.

In 1960, Bava directed Black Sunday, a gothic horror film and his first solo directorial effort, which made a genre star out of Barbara Steele.

Lamberto Bava ( born 3 April 1944 ) is an Italian film director, specializing in horror, giallo and fantasy films.

Bava was born in Rome, the son of horror maestro Mario Bava and grandson of cameraman Eugenio Bava.

Reportedly, famed Italian horror director Lucio Fulci was furious when he learned that Bava directed this film, since he had understood that he was slated to direct it with the project's screenwriter Dardano Sacchetti.

Although Bava more recently made 2 violent horror films entitled Ghost Son and The Torturer, it seems he strongly favors the made-for-TV fantasy films.

He never finished either of the two horror films he was assigned in the Fifties (" I VAMPIRI " and " CALTIKI "), but rather allowed his cinematographer Mario Bava to complete them.

The Whip and the Body ( Italian: La frusta e il corpo ) is a 1963 Italian gothic horror film directed by Mario Bava.

Black Sunday ( Italian: La maschera del demonio ; also known as The Mask of Satan ) is a 1960 Italian gothic horror film directed by Mario Bava, from a screenplay by Ennio de Concini, Mario Serandrei and Marcello Coscia ( who was uncredited ).

As a lover of Russian fantasy and horror, Bava decided to adapt Nikolai Gogol's 1865 horror story " Viy " into a feature film.

However, the resultant screenplay ( by Bava, Ennio De Concini and Mario Serandrei ) in fact owed very little to Gogol at all, and seemed to be more a tribute to the atmospheric black-and-white gothic horror films of the 1930s, especially those produced by Universal Studios.

Mario Bava, ostensibly the director of this nonsense, allows this female Bela Lugosi to quench her thirst four times before she burns, screaming, at the stake [...] As a setting for unadulterated horror, it will leave its audiences yearning for that quiet, sunny little motel in Psycho.