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This is a provocative collection of essays that provide cutting edge, original research in film studies, discussing a number of 'transgressive' films that have never before had such in-depth analysis and treatment. From '70s Italian horror films and extreme European cinema to Nazi propaganda films and fundamentalist Christian 'scare' movies, these essays explore many different genres and themes.
The first of its kind, this study examines the exemplars of hardcore horror--Fred Vogel's August Underground trilogy, Shane Ryan's Amateur Porn Star Killer series and Lucifer Valentine's "vomit gore" films. The author begins with a definition and critical overview of this marginalized subgenre before exploring its key aesthetic convention, the pursuit of realist horror. Production practices, exhibition and marketing strategies are discussed in an in-depth interview with filmmaker Shane Ryan. Audience reception is covered with a focus on fan interaction via the Internet.
The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
In 1902, scientist and inventor Kazimierz Prószyński made the first Polish narrative film, The Return of a Merry Fellow. Since then, the Polish film industry has produced a diverse body of work, ranging from patriotic melodramas and epic adaptations of the national literary canon to Yiddish cinema and films portraying the corrupt side of communism. Poland has produced several internationally known films, including Andrzej Wajda’s war trilogy, A Generation (1955), Kanal (1957), and Ashes and Diamonds (1958); Roman Polański’s Knife in the Water (1962); and Andrzej Munk’s The Passenger (1963). Often performing specific political and cultural duties for their nation, Polish filmmakers were well aware of their role as educators, entertainers, social activists, and political leaders. This second edition of Historical Dictionary of Polish Cinema fills the gap in film scholarship, presenting an extensive factual survey of Polish film. Through a chronology; an introductory essay; appendixes, a bibliography; and over 300 cross-referenced dictionary entries on films, directors, actors, producers, and film institutions, a balanced picture of the richness of Polish cinema is presented. Readers with professional interest in cinema will welcome this new work, which will enhance senior undergraduate or postgraduate courses in film studies.
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.
Beloved among cult horror devotees for its signature excesses of sex and violence, Italian giallo cinema is marked by switchblades, mysterious killers, whisky bottles and poetically overinflated titles. A growing field of English-language giallo studies has focused on aspects of production, distribution and reception. This volume explores an overlooked yet prevalent element in some of the best known gialli--an obsession with art and artists in creative production, with a particular focus on painting. The author explores the appearance and significance of art objects across the masterworks of such filmmakers as Dario Argento, Lucio Fulci, Sergio Martino, Umberto Lenzi, Michele Soavi, Mario Bava and his son Lamberto.
Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world.
Too often dismissed as nothing more than 'trash cinema', exploitation films have become both earnestly appreciated cult objects and home video items that are more accessible than ever. In this wide-ranging new study, David Church explores how the history of drive-in theatres and urban grind houses has descended to the home video formats that keep these lurid movies fondly alive today. Arguing for the importance of cultural memory in contemporary fan practices, Church focuses on both the re-release of archival exploitation films on DVD and the recent cycle of 'retrosploitation' films like Grindhouse, Machete, Viva, The Devil's Rejects, and Black Dynamite. At a time when older ideas of subcultural belonging have become increasingly subject to nostalgia, Grindhouse Nostalgia presents an indispensable study of exploitation cinema's continuing allure, and is a bold contribution to our understanding of fandom, taste politics, film distribution, and home video.