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Italian Giallo in Film and Television
Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories--even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim, giallo is a fluid and dynamic genre that has evolved throughout the decades. This book examines the many facets of the giallo genre --narrative, style, themes, and influences. It explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, discussing their impact on society, culture and mores.
La Dolce Morte
With the exception of die-hard aficionados of European or Italian horror cinema, most people may not have heard of giallo cinema or have seen many films in this subgenre of horror. Most academic film studies tend to ignore horror cinema in general and the giallo specifically. Critics often deride these films, which reveal more about the reviewers' own prejudices than any problem with the works themselves. As a counter to such biases, Mikel J. Koven argues for an alternative approach to studying these films, by approaching them as vernacular cinema—distinct from "popular cinema." According to Koven, to look at a film from a vernacular perspective removes the assumptions about what constitut...
Italian Gothic Horror Films, 1980-1989
The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.
Don't Go Upstairs!
Throughout cinematic history, the buildings characters inhabit--whether stately rural mansions or inner-city apartment blocks--have taken on extra dimensions, often featuring as well developed characters themselves. Nowhere is this truer than in the horror film, where familiar spaces--from chaotic kitchens to forgotten attics to overgrown greenhouses--become settings for diabolical acts or supernatural visitations. Showing readers through a selection of prime movie real estate, this book explores how homes come to life in horror with an analysis of more than sixty films, including interviews and insights from filmmakers and scholars, along with many rare stills. From the gruesome murder in the hallway of The House by the Cemetery (1981) to the malevolent haunting in the nursery of Eel Marsh House in The Woman in Black (2012), no door is left unopened.
Italian Gothic Horror Films, 1970-1979
Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
La gola
I sette vizi capitali, raccontati da chi di peccati se ne intende, per via dello sguardo affilato, allenato a leggere dentro alle umane debolezze, alle passioni più sordide e sublimi, ai delitti prosaici o folli. Si può così scoprire, con orrore misto a divertimento, a quali effetti deleteri e criminosi possa giungere chi indulge ai peccati di Superbia, Avarizia, Lussuria, Ira, Gola, Invidia e Accidia. Senza stupirsi se si cade, alle volte, nel buffo, nel grottesco o nell'assurdo: la vita, si sa, è maestra nel superare la finzione, e quando si tratta di vizi non si fa pregare a dar l'esempio. In questo capitolo, dedicato alla Gola, si cimentano Ernesto G. Laura, Giuseppe Pederiali e Diego Zandel. Attenzione: un peccato tira l'altro!
La lussuria
I sette vizi capitali, raccontati da chi di peccati se ne intende, per via dello sguardo affilato, allenato a leggere dentro alle umane debolezze, alle passioni più sordide e sublimi, ai delitti prosaici o folli. Si può così scoprire, con orrore misto a divertimento, a quali effetti deleteri e criminosi possa giungere chi indulge ai peccati di Superbia, Avarizia, Lussuria, Ira, Gola, Invidia e Accidia. Senza stupirsi se si cade, alle volte, nel buffo, nel grottesco o nell'assurdo: la vita, si sa, è maestra nel superare la finzione, e quando si tratta di vizi non si fa pregare a dar l'esempio. In questo capitolo, dedicato alla Lussuria, si cimentano Alan D. Altieri, Carlotta Givo con Alessandro Perissinotto e Andrea Vitali. Attenzione: un peccato tira l'altro!
L'accidia
I sette vizi capitali, raccontati da chi di peccati se ne intende, per via dello sguardo affilato, allenato a leggere dentro alle umane debolezze, alle passioni più sordide e sublimi, ai delitti prosaici o folli. Si può così scoprire, con orrore misto a divertimento, a quali effetti deleteri e criminosi possa giungere chi indulge ai peccati di Superbia, Avarizia, Lussuria, Ira, Gola, Invidia e Accidia. Senza stupirsi se si cade, alle volte, nel buffo, nel grottesco o nell'assurdo: la vita, si sa, è maestra nel superare la finzione, e quando si tratta di vizi non si fa pregare a dar l'esempio. In questo capitolo, dedicato all'Accidia, si cimentano Elisabetta Bucciarelli, Diana Lama e Giulio Leoni. Attenzione: un peccato tira l'altro!
Spinegrinder
First came video and more recently high definition home entertainment, through to the internet with its streaming videos and not strictly legal peer-to-peer capabilities. With so many sources available, today’s fan of horror and exploitation movies isn’t necessarily educated on paths well-trodden — Universal classics, 1950s monster movies, Hammer — as once they were. They may not even be born and bred on DAWN OF THE DEAD. In fact, anyone with a bit of technical savvy (quickly becoming second nature for the born-clicking generation) may be viewing MYSTICS IN BALI and S.S. EXPERIMENT CAMP long before ever hearing of Bela Lugosi or watching a movie directed by Dario Argento. In this world, H.G. Lewis, so-called “godfather of gore,” carries the same stripes as Alfred Hitchcock, “master of suspense.” SPINEGRINDER is one man’s ambitious, exhaustive and utterly obsessive attempt to make sense of over a century of exploitation and cult cinema, of a sort that most critics won’t care to write about. One opinion; 8,000 reviews (or thereabouts.
