La Dolce Morte

Vernacular Cinema and the Italian Giallo Film

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book La Dolce Morte by Mikel J. Koven, Scarecrow Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Mikel J. Koven ISBN: 9781461664161
Publisher: Scarecrow Press Publication: October 2, 2006
Imprint: Scarecrow Press Language: English
Author: Mikel J. Koven
ISBN: 9781461664161
Publisher: Scarecrow Press
Publication: October 2, 2006
Imprint: Scarecrow Press
Language: English

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.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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.

More books from Scarecrow Press

Cover of the book Historical Dictionary of Democratic People's Republic of Korea by Mikel J. Koven
Cover of the book German Radical Pietism by Mikel J. Koven
Cover of the book British Military Operations in Egypt and the Sudan by Mikel J. Koven
Cover of the book Building a Better Chinese Collection for the Library of Congress by Mikel J. Koven
Cover of the book Living with Cancer by Mikel J. Koven
Cover of the book Historical Dictionary of Surrealism by Mikel J. Koven
Cover of the book The Kubrick Facade by Mikel J. Koven
Cover of the book Teaching Information Fluency by Mikel J. Koven
Cover of the book Contemporary Westerns by Mikel J. Koven
Cover of the book The A to Z of the United Nations by Mikel J. Koven
Cover of the book American Classic Screen Features by Mikel J. Koven
Cover of the book Teaching the Library Research Process by Mikel J. Koven
Cover of the book The Pedagogy of Adaptation by Mikel J. Koven
Cover of the book Historical Dictionary of Asian American Literature and Theater by Mikel J. Koven
Cover of the book Andre Kostelanetz on Records and on the Air by Mikel J. Koven
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy