Italian vernacular cinema
The Bird With the Crystal Plumage (Dario Argento, 1970)
Freudian Psychology is based on the work of Sigmund Freud (1856-1939). Hw is considered the Father of Psychoanalysis and is largely credited with establishing the field of verbal psychotherapy. Originally trained as a neurologist, Freud is best known for his theories about the unconscious mind, dreams, infantile sexuality, libido, repression, and transference—all of which continue to influence the field of psychology. Freud's account of the mind's structure—id, ego, and super ego—led to a new understanding of human psychological development and the treatment of psychological disturbance.
What is an Italian giallo film? Mikel J. Koven’s latest book La Dolce Morte: Vernacular Cinema and the Italian Giallo Film attempts to illuminate this under-appreciated cultural phenomenon and is in fact the first English-language academic study to do so. The term giallo is often thrown about as if it were already some well-established facet of the national canon. As the films themselves will tell us, however, things are not always what they seem. In trying to get to the bottom of this mystery, a researcher might encounter a number of red herrings. References to relevant films in national cinema books are revealed to be throwaway mentions, or else the term is used interchangeably with Italian horror (as in Peter Bondanella’s Italian Cinema: From Neorealism to the Present [1]). The genre’s stylised violence points toward this, but how does the mystery/crime plot figure in this evaluation? We could follow clues leading us toward definitions of the detective film, but these would be troubled by the giallo’s elaborate set pieces and lack of cohesive narrative. The (only) fact is that the giallo is all this and more: a unique nationally-specific hybrid of genres, marked not by its submission to traditional generic boundaries, but by its tendencies to multiply and mutate.
Literally meaning “yellow”, the term giallo here references the cover design of pulp fiction novels first produced by Italian publishing house Mondadori in the late 1920s. Initially, these were mostly translations of crime/mystery stories by writers like Agatha Christie and Edgar Wallace, but it wasn’t long before home-grown literary gialli began to appear. Director Mario Bava is widely recognised as the father of the genre’s cinematic incarnation and Koven offers both Bava’s La ragazza che sapev troppo (The Girl Who Knew Too Much, 1962) andSei donne per l’assassino (Blood and Black Lace, 1964) as texts which establish and fix in place the textual conventions of the genre. Koven looks at a wide range of giallo films by more than 25 directors, but he points out in his introduction that the book’s interest does not lie in an auteurist study of this body of work. Rather, his book is an exploration of the giallo from a synchronic perspective with particular attention given to some of the thematic concerns which arise from textual study of these films.
di Trevi "La Dolce Vita" (1960)
8 1/2
(1963) Fellini
The world-renowned Italian film director Federico Fellini was born in the seaside village of Rimini on January 20, 1920. He was the oldest of three children, and a keen observer of the characters of his small town upbringing. He left for Rome in 1938 and enrolled in university to avoid being drafted into the service. He left school and in the years prior to the outbreak of World War II he made his living as a cartoonist. He also began writing and acting in sketch comedy productions and radio programs with his good friend Aldo Fabrizi. During this time period he met his wife, the actress Giuletta Masina who became a great influence on his work. Another famous Italian director, Roberto Rossellini, wished to cast Fellinis' friend Fabrizi in one of his films and Fellini arranged their meeting. Through that contact he started work as an assistant scriptwriter and was given access to the inner workings of how films are created and edited, thus beginning his new career as a film director.
His career in cinema spanned five decades and he gained much critical acclaim. He won many awards including four Oscars in the Best Foreign Language category. His films offer a combination of themes including memory, dreams, fantasy and desire. They are often intimate looks at people at their most bizarre and the term "Felliniesque" is used when depicting an ordinary scene that has been altered by the addition of hallucinatory imagery. Many current filmmakers such as Woody Allen, David Lynch, Pedro Almodovar and Terry Gilliam have claimed to have been influenced in their work by Fellini.
Federico Fellini died of a heart attack the day after celebrating his 50th wedding anniversary with Giuletta on 31 October 1993 in Rome.
“A forkful of westerns: industry,
audiences and the Italian western,” Christopher Wagstaff
The Good, the Bad and the Ugly 1966
Mario Bava (31 July 1914 – 25 April 1980) was an Italian director, screenwriter, special effects artist, and cinematographer remembered as one of the greatest names from the "golden age" ofItalian horror films.
Dario Argento (Italian pronunciation: [ˈdarjo arˈdʒɛnto]; born 7 September 1940) is an Italian film director, producer and screenwriter. He is best known for his work in the horror film genre, particularly in the subgenre known as giallo, and for his influence on modern horror and slasher movies.
Lucio Fulci (Italian pronunciation: [ˈlutʃo ˈfultʃi]; 17 June 1927 – 13 March 1996) was an Italian film director, screenwriter, and actor. He is perhaps best known for his directorial work on gore films, includingZombie (1979) and The Beyond (1981), although he made films in genres as diverse as giallo, western, and comedy. Fulci is known as the "Godfather of Gore" a title also given to Herschell Gordon Lewis.
The
Girl Who Knew Too Much (Mario, Bava, 1963)
The Baroque is a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe.
The popularity and success of the Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement.[2] The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence.
Five Dolls For An August Moon
(Mario Bava)
(Mario Bava)
What Is Freudian Psychology?
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