The Italian giallo film genre--the equivalent of the American whodunit but incorporating extreme violence and sex--was based on popular British and American fiction of the 30s and 40s, adapted to the explicitly liberal filmmaking of 1970s and 1980s Europe. Seldom released in American theaters, these films were usually distributed as redacted bootlegs, awaiting digital technology to be restored to their original content and pristine visual form. This book analyzes the censored sex and violence of giallo films, finding in them an inherent beauty and tracing their literary antecedents to the elements of the fairy tale as described by Russian folklorist Vladimir Propp. Each chapter covers a film and its director, from 1962 to 1987. The author argues that despite their formulaic production and designation as "Euro-sleaze," these films are works of individuality and artistic virtue.

Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean Woodard The giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this “yellow” cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.

Italian cinema is now regarded as one of the great cinemas of the world. Historically, however, its fortunes have varied. Following a brief moment of glory in the early silent era, Italian cinema appeared to descend almost into irrelevance in the early1920s. A strong revival of the industry which gathered pace during the 1930s was abruptly truncated by the advent of World War II. The end of the war, however, initiated a renewal as films such as Roma città aperta (Rome Open City), Sciuscià (Shoeshine, 1946), and Ladri di biciclette (Bicycle Thieves, 1948), flagbearers of what soon came to be known as Neorealism, attracted unprecedented international acclaim and a reputation that only continued to grow in the following years as Italian films were feted worldwide. Ironically, they were celebrated nowhere more than in the United States, where Italian films consistently garnered the lion's share of the Oscars, with Lina Wertmüller becoming the first woman to ever be nominated for the Best Director award. This second edition of Historical Dictionary of Italian Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major movements, directors, actors, actresses, film genres, producers, industry organizations and key films. This book is an excellent resource for students, researchers, and anyone wanting to know more about Italian Cinema.

Beloved among cult horror devotees for its signature excesses of sex and violence, Italian giallo cinema is marked by switchblades, mysterious killers, whisky bottles and poetically overinflated titles. A growing field of English-language giallo studies has focused on aspects of production, distribution and reception. This volume explores an overlooked yet prevalent element in some of the best known gialli--an obsession with art and artists in creative production, with a particular focus on painting. The author explores the appearance and significance of art objects across the masterworks of such filmmakers as Dario Argento, Lucio Fulci, Sergio Martino, Umberto Lenzi, Michele Soavi, Mario Bava and his son Lamberto.

Seminar paper from the year 2015 in the subject Film Science, grade: 1, University of Salzburg, language: English, abstract: Original and Remake - what are the differences, what are the similarities? What mattered then and what matters now? The American slasher film has many influences that need to be illustrated through the history of horror cinema, and to, furthermore, understand why a horror movie is apt to turn real life issues, sensitive topics and personal predicament into metaphors for the audience to watch in theaters or on their television screens at home. Alfred Hitchcock, Mario Bava, John Carpenter and Bob Clark (whose 1974 movie Black Christmas will be the main subject) have all influenced the horror film with their visionary direction, their addressing of sensitive subjects and the uniqueness of suspense-buildup in their films. Many filmmakers are influenced by the creative approaches the aforementioned directors took, referencing them, copying them, or even remaking their films. Movie remakes have always existed, as for instance, John Carpenter’s remake of Christian Nyby’s horror/sci-fi movie The Thing from another World (1951). However, looking back, remakes have not been as prominent as they are these days. The “remake craze” experienced a boost in 2008 and again in 2010 when thirteen remakes were released, respectively, to theaters in the United States. There are still remakes soon to be released and some soon to undergo production. The hows and whys might deduce from cultural and social changes. Most remakes do well in theaters, audiences do not seem to mind to have the same story retold to them with flashier visuals; and movie production companies, of course, welcome the remake trend. To them it is less of a risk to remake than to try out and maybe fail at the box office with introducing a new franchise. Since audiences do not seem to mind (and the box office numbers encourage this opinion, see Figure 5), production companies are going to play it safe.

"In addition to being the first academic study of the giallo film in English, this book surveys more than fifty films of this subgenre. The works of twenty-five different filmmakers are considered, including Mario Bava and Dario Argento, Lucio Fulci, Sergio Martino, Pupi Avati, and Umberto Lenzi. Koven explores the interrelationships between these films; how one influences the others, how certain filmmakers take ideas and expand on them, and how those ideas are further transformed by other filmmakers. Koven also discusses the impact of the giallo on the later North American slasher genre."--BOOK JACKET.

Traces the giallo mystery/horror genre from its genesis in Italian cinema of the 1960s and 1970s to its contemporary place in the global cult-film canon.