![]() ![]() It is illusory to think that the dichotomy between auteur and genre would cover the whole spectrum of a film industry that developed with an outstanding vitality after World War II. like most simplifications, such a distinction leans on shaky foundations. from the late 1950s onward, an enormous number of works were designed not only for the home consumption but for export as well, until finally, in the 1980s, the industry virtually collapsed under the weight of the economic crisis it had been fighting during the previous decades, and gave way to the soft tyranny of television. If auteurs brought the national production to the attention of foreign audiences and won prestigious awards, it was with the development of genres that the Italian industry found a profitable market abroad. they offered films which adhered to the rules of the Western and thriller genres respectively, but in the meantime they deeply innovated said rules, paving the way for new threads and dozens of similar productions-or hundreds, in the case of the euroWestern fever. some genre directors have in turn gained auteur status-sergio leone and dario Argento, to name two. Torrent redemption cemetery la maledizione del corvo crack movie#on the other, those movies designed for mass consumption: the sword-and-sandal, the gothic, the spy thriller, the Western, gialli, crime films, up to the many threads that by the mid- to late 1970s took turns chaotically, from the cannibal movie to the zombie film. on the one hand, there are the works of the big-name directors: Rossellini, de sica, visconti, fellini, Pasolini, Antonioni, etc. Post–World War II Italian cinema, as seen from a foreigner’s perspective, is usually broadly divided into two big categories: auteur and genre films. Introduction like a turbulent river fed by numerous tributaries, the history of Italian cinema in the second half of the 20th century is seething with undercurrents. films are listed chronologically by release date.Ībbreviations Co-D Co-director D director P Producer S story SC screenplay story and script writing credits include significant contributions to the story or screenplay, either credited or uncredited. Augusto tretti-the don Quixote of Italian CinemaĪ note on the essential filmographies the “essential filmographies” at the end of each chapter do not include short films. Paolo spinola-Rather die than be defiledħ. ![]() Riccardo ghione-before and After the RevolutionĦ. Alberto Cavallone-the Wild eye of excessģ. ![]() Pier Carpi-the Man Who Would be CagliostroĢ. McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 to my dear friend tommaso la selvaĪcknowledgments I would like to thank the following, who in one way or another helped me during the making of this book: lucas balbo, davide Cavaciocchi, francesco Cesari, Pierpaolo de sanctis, Alessio di Rocco, steve fenton, Mario and Roderick gauci, Peter Jilmstad, stefano lecchini, Antonio Marchesani, Paolo Mereghetti, domenico Monetti, Alberto Pezzotta, Roberto Poppi, Massimiliana spinola, Marco vanelli and Camillo vegezzi.ġ. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.įront cover: french sales flyer for the 1963 film Il demonio (courtesy lucas balbo) Printed in the united states of America ISBN (print) 978-1-4766-7242-7 ISBN (ebook) 978-1-4766-3300-8 lIbRARy of CongRess CAtAloguIng dAtA ARe AvAIlAble bRItIsh lIbRARy CAtAloguIng dAtA ARe AvAIlAble McFarland & Company, Inc., Publishers Jefferson, North Carolina Mavericks of Italian Cinema Eight Unorthodox Filmmakers, 1940s–2000s Also by RobeRto C uRtI And fRoM MC fARlAnd Bracali and the Revolution in Tuscan Cuisine (2018) Riccardo Freda: The Life and Works of a Born Filmmaker (2017) Italian Gothic Horror Films, 1970–1979 (2017) Tonino Valerii: The Films (2016) Italian Gothic Horror Films, 1957–1969 (2015) Italian Crime Filmography, 1968–1980 (2013) ![]()
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