Italian giallo films have a peculiar allure. Taking their name from the Italian for "yellow"— reflecting the covers of pulp crime novels—these genre movies were principally produced between 1960 and the late 1970s. These cinematic hybrids of crime, horror, and detection are characterized by elaborate set-piece murders, lurid aesthetics, and experimental soundtracks. Using critical frameworks drawn from genre theory, reception studies, and cultural studies, Giallo! traces this historically marginalized genre's journey from Italian cinemas to the global cult-film canon. Through close textual analysis of films including The Girl Who Knew Too Much (1963), Blood and Black Lace (1964), The Bird with the Crystal Plumage (1970), The Black Belly of the Tarantula (1971), and The Case of the Bloody Iris (1972), Alexia Kannas considers the rendering of urban space in the giallo and how it expresses a complex and unsettling critique of late modernity.

Inspired by the genius of Hitchcock and his films, latin luminaries such as Argento and Bava directed macabre murder-mystery thrillers, that combined the suspense with scenes of outrageous violence, stylish cinematography, and groovy soundtracks. This genre became known in their native Italy as giallo. Giallo is Italian for yellow, inspired by the lurid covers of thrillers, in the way that pulp fiction was derived from the cheap wood pulp paper of the crime stories, or Film Noir came from the chiaroscuro of the German Expressionistic lighting. Craig Douglas and Jason Michel bring gialli-inspired stories together from some of the best crime writers on the scene today to a wider audience, giving birth to a new literary movement in crime writing, NeoGiallo, and drag this much maligned genre screaming and slashing its way into the 21st Century.

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.

A 'Giallo' (Italian pulp) style scenario/context for dramatic crime/supernatural adventures. A cast of strange characters, opportunities for conflict and suggestions for what may - or may not - be a supernatural threat.

SO DEADLY, SO PERVERSE: 50 YEARS OF ITALIAN GIALLO FILMS VOLUME TWO offers a look at the gradual decline of the giallo from 1974 until 2013.