By Ian Olney
Beginning within the Fifties, "Euro Horror" videos materialized in impressive numbers from Italy, Spain, and France and popped up within the US at rural drive-ins and concrete grindhouse theaters corresponding to those who as soon as dotted New York's instances sq.. Gorier, sexier, and stranger than so much American horror movies of the time, they have been embraced via hardcore enthusiasts and denounced through critics because the worst form of cinematic trash. during this quantity, Olney explores probably the most renowned genres of Euro Horror cinema—including giallo movies, named for the yellow covers of Italian pulp fiction, the S&M horror movie, and cannibal and zombie films—and develops a conception that explains their renewed attract audiences today.
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Additional resources for Euro Horror: Classic European Horror Cinema in Contemporary American Culture
This online periodical, which is committed to offering new perspectives on European cinema, has devoted several of its issues to the discussion of seminal Euro horror movies like Eyes without a Face and celebrated Euro horror auteurs like Dario Argento and Jean Rollin. Meanwhile, even the most popular and well-known Euro horror films and directors receive only passing mention, if that, in student guidebooks and readers, which, as Peter Hutchings notes, tend to define the genre as the sum of its canonical Anglo American texts: Universal monster movies of the 1930s, Val Lewton’s R KO productions of the 1940s, Cold War sci-fi/horror films of the 1950s, Hammer horror of the 1950s and 1960s, Vietnam era American horror of the 1960s and 1970s, and the slasher and “postslasher” movies of the 1980s, 1990s, and beyond (27–28).
Italian cinema of the period is often equated with art films such as Michelangelo Antonioni’s L’avventura (1960), Federico Fellini’s Giulietta degli spiriti (Juliet of the Spirits, 1965), Bernardo Bertolucci’s Il conformista (The Conformist, 1970), and Luchino Visconti’s Morte a Venezia (Death in Venice, 1971); however, the industry was actually geared toward the production of inexpensive but lucrative genre fare: horror movies, spaghetti westerns, “peplum” (sword and sandal) epics, and “mondo” (exotic travelogue) Fa st, Ch e a p, a n d Ou t of Con t rol 25 films.
Indeed, Euro horror has often played a key role in determining the course of the horror genre over the years. The giallo, or Italian murder mystery film, pioneered by Mario Bava with La ragazza che sapeva troppo (The Girl Who Knew Too Much, 1963) and Sei donne per l’assassino (Blood and Black Lace, 1964), is widely regarded as an important catalyst of the original 10 Towa r d a Pe r for m at i v e T h eory of Eu ro Hor ror Ci n e m a slasher film cycle in the United States during the late 1970s and early 1980s.