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Mario Bava’s Blood and Black Lace (1964) is commonly considered the archetypal giallo. This book examines its main narrative and stylistic aspects, including the groundbreaking prominence of violence and sadism and its use of color and lighting, as well as Bava’s irreverent approach to genre and handling of the audience’s expectations.
Style, sex and savagery are the main ingredients of Italian giallo cinema, a highly salacious art form which thrives on fetishist images of beautiful, scantily-clad females being menaced by knife-wielding maniacs - often for the most obscure of motives! Illustrated in full-colour throughout, this exhaustive guide to the genre features full reviews, cast lists, credit information on over two hundred giallo movies, many of which have never been listed in any other movieguide.
Mario Bava’s Blood and Black Lace (1964) is commonly considered the archetypal giallo. This book examines its main narrative and stylistic aspects, including the groundbreaking prominence of violence and sadism and its use of color and lighting, as well as Bava’s irreverent approach to genre and handling of the audience’s expectations.
Author : Alexia Kannas Publisher : State University of New York Press Page : 213 pages File Size : 38,55 MB Release : 2020-11-01 Category : Performing Arts ISBN : 1438480342
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.
Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and urban grindhouse theaters such as those that once dotted New York's Times Square. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema—including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films—and develops a theory that explains their renewed appeal to audiences today.
"Which one of you bitches is my mother?" Four elegant, successful, and sophisticated women in their forties are called to New York's Pierre Hotel to meet Lili -- a beautiful, young, and notoriously temperamental Hollywood movie star. None of the women knows exactly why she is there; each has a reason to hate Lili and each of them is astonished to see the others. They are old friends who share a guilty secret and who have for years been doing their best to keep that secret quiet. Their lives are changed forever, however, when Lili suddenly confronts them. When the women refuse to answer her, Lili proceeds to travel around the world through the playgrounds of the rich and famous, seeking to answer the question that has obsessed and almost destroyed her. From Paris to London, from the boardroom to the bedroom, Lace takes the reader into the rarified world of five unforgettable women who are as beautiful, as complex and as strong as...lace.
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 constitutes a "good" film and how a particular film is in some way "artistic." In La Dolce Morte: Vernacular Cinema and the Italian Giallo Film, Koven explores the history and evolution of this aspect of cinema, and places these films within the context of Italian popular filmmaking. He addresses various themes, motifs, and tropes in these films: their use of space, the murders, the role of the detective, the identity of the killer, issues of belief, excess, and the set-piece. In addition to being the first academic study of the giallo film in English, this book surveys more than fifty films of this subgenre. In addition to filmmakers like Mario Bava and Dario Argento, Koven also looks at the films of Lucio Fulci, Sergio Martino, Pupi Avati, Umberto Lenzi, and others. In all, the works of twenty-five different filmmakers are considered in this book. Also explored are the inter-relationships between these films: how one influences others, how certain filmmakers take ideas and build off of them, and how those ideas are further transformed by other filmmakers. Koven also explores the impact of the giallo on the later North American slasher genre.
An elderly white Louisiana socialite reveals her shocking life story to the writer of her memoirs in this family saga by a USA Today–bestselling author. When Aurore Gerritsen watched her lover kill her father, it was just one act of violence in a long chain of dramatic events. Years later, behind the iron lace gates of wealthy New Orleans, beneath the veneer of her society name, linger secrets that Aurore Gerritsen has hidden for a lifetime, and truths that threaten to change forever the lives of her unsuspecting family. Now, as Aurore faces her own mortality, she needs to reveal those secrets that have haunted her for so many years. Aurore seeks out Phillip Benedict and asks him to tell her story. He’s intrigued, but wonders why the matriarch of a prominent white family would choose to confess her sins to an outspoken black journalist. Finally Phillip agrees, but though he thinks he’s ready for anything she might say, the truth is that nothing can prepare him for the impact of Aurore’s shocking revelations. Praise for Iron Lace “A fascinating tale of the tangled race relations and complex history of Louisiana . . . this is a page-turner.” —New Orleans Times-Picayune “Richly textured and deeply moving, Iron Lace is a break-your-heart love story in the grand tradition.” —Karen Harper, New York Times–bestselling author of Shaker Run “This portrait of racism from 1919 to the mid-1960s is intricate, seductive and a darned good read.” —Publishers Weekly
This “ambitious, supernatural coming-of-age story” (The LA Times) is a sweeping tale of ghosts in the modern world, and one woman's struggle to create her own destiny. There are ghosts on the Black Isle. Ghosts that no one can see. No one...except Cassandra. Uprooted from Shanghai with her father and twin brother, young Cassandra finds the Black Isle's bustling, immigrant-filled seaport, swampy jungle, and grand rubber plantations a sharp contrast to the city of her childhood. And she soon makes another discovery: the Black Isle is swarming with ghosts. Haunted and lonely, Cassandra at first tries to ignore her ability to see the restless apparitions that drift down the street and crouch in cold corners at school. Yet despite her struggles with these spirits, Cassandra comes to love her troubled new home. And soon, she attracts the notice of a dangerously charismatic man. Even as she becomes a fearless young woman, the Isle's dark forces won't let her go. War is looming, and Cassandra wonders if her unique gift might be her beloved island's only chance for salvation . . . Taking readers from the 1920s, through the Japanese occupation during WWII, to the Isle's radical transformation into a gleaming cosmopolitan city, The Black Isle is a sweeping epic--a deeply imagined, fiercely original tale from a vibrant new voice in fiction.