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Giallo - Wikipedia. This article is about the literature and film genre.
For the 2. 00. 9 Dario Argento film, see Giallo (film). For the Italian wine grape, see Verdicchio. Giallo (Italian pronunciation: . Especially outside of Italy, giallo refers specifically to a particular Italian thriller- horror genre that has mystery elements and often contains slasher, crime fiction, psychological thriller, psychological horror, and, less frequently, supernatural horror elements. In Italy, the term generally denotes thrillers, typically of the crime fiction, mystery, and horror subgenres, regardless of the country of origin.
In English- speaking countries, the term giallo often refers to the Italian film version of the genre, a particular style of Italian- produced murder mystery thriller- horror film that usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction (such as slasher violence) and eroticism (similar to the French fantastique genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. The genre developed in the mid- to- late 1. It has been considered to be a predecessor to, and significant influence on, the later American slasher film genre. The word . Note the characteristic yellow background and the figure of a masked killer. The term giallo (. The series consisted almost exclusively of Italian translations of mystery novels by British and American writers.
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These included Agatha Christie, Ellery Queen, Edgar Wallace, Ed Mc. Bain, Rex Stout and Raymond Chandler.
They published their own versions and mimicked the yellow covers. The popularity of these series eventually established the word giallo as a synonym in Italian for a mystery novel. In colloquial and media usage in Italy, it also applied to a mysterious or unsolved affair. Thus, American, British or other thriller- horrors such as Psycho, Vertigo or Peeping Tom are considered gialli. English- speaking audiences have used the term to refer specifically to the type of Italian- produced thriller- horror films known to Italian audiences as . Directors soon began taking advantage of modern cinematic techniques to create a unique genre that retained the mystery and crime fiction elements of giallo novels but veered more closely into the horror and psychological thriller or psychological horror genres. Many of the typical characteristics of these films were incorporated into the later American slasher genre.
Characteristics. Directors and stars often moved between both genres and some films could be considered under either banner, such as Massimo Dallamano's 1. La polizia chiede aiuto (What Have They Done to Your Daughters?). The archetypal giallo plot involves a mysterious, black- gloved psychopathic killer who stalks and butchers a series of beautiful women. The structure of giallo films are also sometimes reminiscent of the so- called . Some films (for example Mario Bava's 1.
Hatchet for the Honeymoon, which features the killer as the protagonist) may radically alter the traditional structure or abandon it altogether and still be considered gialli due to stylistic or thematic tropes, rather than narrative ones. While most have a nominal mystery structure, they may feature bizarre or seemingly nonsensical plot elements and a general disregard for realism in acting, dialogue and character motivation. Black gloves, sexual ambiguity, and psychoanalytic trauma may be at the heart of each film, but the genre itself is without consistent narrative form. These scenes frequently evoke some degree of voyeurism, sometimes going so far as to present the murder from the first- person perspective of the killer, with the black- gloved hand holding a knife viewed from the killer's point of view.
This ambiguity of memory and perception can escalate to delusion, hallucination and delirious paranoia. Since gialli protagonists are typically female, this can lead to what writer Gary Needham calls, . Koven posits that gialli reflect an ambivalence over the social upheaval modernity brought to Italian culture in the 1. Critic Maitland Mc. Donagh describes the visuals of Profondo rosso (Deep Red) as, . Directors Dario Argento and Mario Bava are particularly known for their impressionistic imagery and use of lurid colors, though other giallo directors (notably Lucio Fulci) employed more sedate, realistic styles as well.
Other important composers known for their work on giallo films include Piero Umiliani (composer for Five Dolls for an August Moon), Riz Ortolani (La ragazza dal pigiama giallo . Cain's. The Postman Always Rings Twice, adapted in 1. Luchino Visconti as Ossessione. Condemned by the fascist government, Obsessione was eventually hailed as a landmark of neo- realist cinema, but it did not provoke any further giallo adaptations for almost 2. Despite their link to giallo author Wallace, though, they featured little of the excessive stylization and gore which would define Italian gialli. The Swedish director Arne Mattsson has also been pointed to as a possible influence, in particular his 1. 2010 Blockbuster Movies All The Money In The World (2017).
Mannequin in Red. Though the film shares stylistic and narrative similarities with later giallo films (particularly its use of color and its multiple murder plot), there is no direct evidence that subsequent Italian directors had seen it.
Though shot in black and white and lacking the lurid violence and sexuality which would define later gialli, the film has been credited with establishing the essential structure of the genre: in it, a young American tourist in Rome witnesses a murder, finds her testimony dismissed by the authorities, and must attempt to uncover the killer's identity herself. Bava drew on the krimi tradition as well as the Hitchcockian style referenced in the title, and the film's structure served as a basic template for many of the gialli that would follow.
It introduced a number of elements that became emblematic of the genre: a masked stalker with a shiny weapon in his black- gloved hand who brutally murders a series of glamorous fashion models. So Perverse. But it was Dario Argento's first feature, in 1. That film, The Bird with the Crystal Plumage, was greatly influenced by Blood and Black Lace, and introduced a new level of stylish violence and suspense that helped redefine the genre. The film was a box office smash and was widely imitated. In 1. 99. 6, director Michele Soavi wrote, .
Mario had grown old and Dario made it his own genre.. In English- language film circles, the term . The most prolific period, however, was the three- year timespan between 1.
Directors like Bava, Argento, Fulci, Lenzi, and Margheriti continued to produce gialli throughout the 7. Sergio Martino, Paolo Cavara, Armando Crispino, Ruggero Deodato and Bava's son Lamberto Bava. The genre also spread to Spain by the early 7. La residencia (The House That Screamed) (1. Los Ojos Azules de la Muneca Rota (Blue Eyes Of The Broken Doll) (1. Spanish casts and production talent.
Though they preceded the first giallo by a few years, German krimi films continued to be made contemporaneously with early gialli, and were also influenced by their success. As the popularity of krimis declined in Germany, Rialto Film began increasingly pairing with Italian production companies and filmmakers (such as composer Ennio Morricone and director, cinematographer Joe D'Amato, who worked on later krimi films following their successes in Italy). The overlap between the two movements is extensive enough that one of Rialto's final krimi films, Cosa avete fatto a Solange? This cinematic style and unflinching content is also at the root of the gory slasher and splatter films that became widely popular in the early 1. In particular, two violent shockers from Mario Bava, Hatchet for the Honeymoon (1.
Twitch of the Death Nerve (1. Early examples of the giallo effect can be seen in the British film Berserk!
Berberian Sound Studio (2. Director Eli Roth has called the giallo .
There's this real ominous creepy feeling.
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