Vampires In Italian Cinema 1956 1975

Demonstrates how and why the transnational figure of the vampire was appropriated by Italian genre filmmakers between 1956 and 1975.

While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror's geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.

Discussing a variety of independent and experimental Italian films, this book gives voice to a critcically neglected form of Italian cinema. By examining the work of directors such as Marinella Pirelli, Mirko Locatelli and Cesrae Zavattini, the book defines, inspects and studies the cinematic panorama of Italy through a new lens. It thereby explores the character of independent films and their related practices within the Italian historical, cultural and cinematic landscape.

With his signature wit, the award-winning author of Anno Dracula, Kim Newman, reimagines the lives of Raymond Chandler and Boris Karloff in this daring and horrifying tale. 'If more mysteries were written like this, I’d read more mysteries.' - Grady Hendrix, author of The Final Girl Support Group Hollywood, the late 1930s. Raymond Chandler writes detective stories for pulp magazines, and drinks more than he should. Boris Karloff plays monsters in the movies. Together, they investigate mysterious matters in a town run by human and inhuman monsters. Joh Devlin, an investigator for the DA’s office who scores high on insubordination, enlists the pair to work a case that threatens to expose Hollywood’s most horrific secrets. Together they will find out more than they should about the way this town works. And about each other. And, oh yes, monsters aren’t just for the movies.

This collection brings together for the first time a range of contributions aimed at a new understanding of the Italian horror cinema genre.

The “Gothic” style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author’s analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.