By Adrian Luther Smith
The giallo bible. The definitive consultant to giallo motion pictures published through the people in the back of The darkish facet journal. nice reference for fanatics in addition to these new to the style.
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Extra info for Blood & Black Lace
In this context of a struggle for realism between left and right, fascist regimes in both Germany and Italy learned to appropriate realist aesthetics for their own ends (as in Italy, Mussolini’s regime also learned to selectively incorporate and encourage Futurism). As has been shown in recent analyses of Walter Ruttmann’s Berlin, Symphony of a City (1927), the realist aesthetics of some of the most famous Weimar German films were ideologically ambivalent and were easily co-opted by the Nazis (see Gaughan 2003; Strathausen 2003).
The emergence of neorealism As the outbreak of World War Two approached, the subordination of Italian feature film production to the agendas of the fascist regime reached a peak. Even those directors whose work had most interestingly employed realism, such as Camerini, retreated to increasing visual stylisation and literary adaptations which spurned the realities of life in contemporary Italy. The aestheticism of the so-called ‘calligraphist’ films of the early 1940s such as Camerini’s A Romantic Adventure, Renato Castellani’s A Pistol Shot (Un colpo di pistola, 1941), Luigi Chiarini’s Five Moons Street (Via delle cinque lune, 1942), Mario Soldati’s Malombra (1942), Ferdinando Maria Poggioli’s Yes, Madam (Sissignora ( , 1942) and Alberto Lattuada’s Giacomo the Idealist (Giacomo l’idealista, 1943), reflected a defensive art-for-art’ssake attitude in Italian cinema as the country was buffeted by the winds of war.
They contained mild elements of social critique in contrasting their protagonists with the pampered upper-middle class – a theme which, as James Hay has explained, was concentrated around certain social spaces such as the department store and the luxury hotel that symbolised social and economic ambition and the modernity and material abundance of Italy under fascism (1987: 37–40). Their contemporaneity was enhanced by their employment of visual realism in representing the modern Italian city – for example, the striking location filming of Milan in What Rascals Men Are!
Blood & Black Lace by Adrian Luther Smith