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.
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