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Rome, 1967: a Vatican exorcist turns on, tunes in, and drops out to fight monsters with Future Chick, time traveling super-hippie from a heavy tomorrow, and Major Bitch, far out freedom fighting yeti-slayer. Murder Vibes From The Monster Dimension delivers 100 throbbing pages of psychedelic horror carved from the sexy imagination of Phil Mucci, conjured by the black arts of Mike Dubisch!
64 Page B&W coloring and activity book. Written and designed by Professor Dario Bava creator Phil Mucci, PDB:OAB features ALL NEW artwork by Murder Vibes maestro Mike Dubisch (aka "The Doobs"), back cover foldout artist and custom letterer extraordinaire Lydia (Robotica) Roberts, and returning pin-up artists Suspiria, and Digestor of Ghoul!
In a now-famous interview with Fran�ois Truffaut in 1962, Alfred Hitchcock described his masterpiece Rear Window (1954) as "the purest expression of a cinematic idea." But what, precisely, did Hitchcock mean by pure cinema? Was pure cinema a function of mise en sc�ne, or composition within the frame? Was it a function of montage, "of pieces of film assembled"? This notion of pure cinema has intrigued and perplexed critics, theorists, and filmmakers alike in the decades following this discussion. And even across his 40-year career, Hitchcock's own ideas about pure cinema remained mired in a lack of detail, clarity, and analytical precision. The Art of Pure Cinema is the first book-length study to examine the historical foundations and stylistic mechanics of pure cinema. Author Bruce Isaacs explores the potential of a philosophical and artistic approach most explicitly demonstrated by Hitchcock in his later films, beginning with Hitchcock's contact with the European avant-garde film movement in the mid-1920s. Tracing the evolution of a philosophy of pure cinema across Hitchcock's most experimental works - Rear Window, Vertigo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy - Isaacs rereads these works in a new and vital context. In addition to this historical account, the book presents the first examination of pure cinema as an integrated stylistics of mise en sc�ne, montage, and sound design. The films of so-called Hitchcockian imitators like Mario Bava, Dario Argento, and Brian De Palma are also examined in light of a provocative claim: that the art of pure cinema is only fully realized after Hitchcock.
The Italian giallo film genre--the equivalent of the American whodunit but incorporating extreme violence and sex--was based on popular British and American fiction of the 30s and 40s, adapted to the explicitly liberal filmmaking of 1970s and 1980s Europe. Seldom released in American theaters, these films were usually distributed as redacted bootlegs, awaiting digital technology to be restored to their original content and pristine visual form. This book analyzes the censored sex and violence of giallo films, finding in them an inherent beauty and tracing their literary antecedents to the elements of the fairy tale as described by Russian folklorist Vladimir Propp. Each chapter covers a film and its director, from 1962 to 1987. The author argues that despite their formulaic production and designation as "Euro-sleaze," these films are works of individuality and artistic virtue.
This masterfully crafted horror classic, featuring a brand-new introduction by Dan Simmons, will bring you to the edge of your seat, hair standing on end and blood freezing in your veins It's the summer of 1960 and in the small town of Elm Haven, Illinois, five twelve-year-old boys are forging the powerful bonds that a lifetime of change will not break. From sunset bike rides to shaded hiding places in the woods, the boys' days are marked by all of the secrets and silences of an idyllic middle-childhood. But amid the sundrenched cornfields their loyalty will be pitilessly tested. When a long-silent bell peals in the middle of the night, the townsfolk know it marks the end of their carefree days. From the depths of the Old Central School, a hulking fortress tinged with the mahogany scent of coffins, an invisible evil is rising. Strange and horrifying events begin to overtake everyday life, spreading terror through the once idyllic town. Determined to exorcize this ancient plague, Mike, Duane, Dale, Harlen, and Kevin must wage a war of blood—against an arcane abomination who owns the night...
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.
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.
Book one in the bestselling mystery series that brought to life an iconic literary antihero of subversion and schemes Fletch, investigative reporter extraordinaire, can’t be bothered with deadlines or expense-account budgets when it comes to getting his story. Working undercover at the beach to dig up a drug-trafficking scheme for his next blockbuster piece, Fletch is invited into a much deeper narrative. Alan Stanwyk, CEO of Collins Aviation and all-around family man, mistakes the reporter for a strung-out vagabond and asks him for a favor: kill him and escape to Brazil with $50,000. Intrigued, Fletch can’t help but dig into this suspicious deal he’s being offered. Dodging the shady beach police as his case begins to break open, and with his temperamental editor Clara pushing for his article, he soon discovers that Stanwyk has a lot to hide and this plan is anything but what it seems.
The exploitation film industry of Italy, Spain and France during the height of its popularity from 1960 to 1980 is the focus of this entertaining history. With subject matter running the gamut from Italian zombies to Spanish werewolves to French lesbian vampires, the shocking and profoundly entertaining motion pictures of the "Eurocult" genre are discussed from the standpoint of the films and the filmmakers, including such internationally celebrated auteurs as Mario Bava, Jess Franco, Jean Rollin and Paul Naschy. The Eurocult phenomenon is also examined in relation to the influences that European culture and environment have had on the world of exploitation cinema. The author's insight and expertise contribute to a greater understanding of what made these films special--and why they have remained so popular to later generations.