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La Dolce Morte

Vernacular Cinema and the Italian Giallo Film
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ISBN-13:
9781461664161
Veröffentl:
2006
Seiten:
206
Autor:
Mikel J. Koven
eBook Typ:
Adobe Digital Editions
Kopierschutz:
Adobe DRM [Hard-DRM]
Sprache:
Englisch
Beschreibung:

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.
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.
Part 1 Preface

Part 2 Acknowledgments

Chapter 3 1. What is
Giallo?

Chapter 4 2. Toward an Understanding of Vernacular Cinema

Chapter 5 3. Space and Place in Italian
Giallo Cinema: The Ambivalence of Modernity

Chapter 6 4. Murder and Other Sexual Perversions

Chapter 7 5. Watching the Detectives: Amateur Detectives and the
Giallo as Detective Cinema

Chapter 8 6. The Killer's Identity

Chapter 9 7. "Weird Science of the Most Egregious Kind": The Ambivalence of Belief in the
Giallo Film

Part 10 8. "A Perverse Sublime": Excess and the Set Piece in the
Giallo

Part 11 9. The
Giallo as Cinema of Poetry

Part 12 10. From
Giallo to Slasher

Part 13 Filmography

Part 14 Bibliography

Part 15 Index

Part 16 About the Author

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