Kinoeye: New perspectives on European film

Vol 3
Issue 12
27 Oct
2003

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Four views of Italian horror

Lucio Fulci's Non si sevizia un paperino (Don't Torture a Duckling, 1972)La Dolce morta
Space, modernity and the giallo

Mikel J Koven argues for the Italian giallo tradition as a "cinema of ambivalence; specifically, ambivalence towards modernity." His discussion highlights the giallo's fluctuating, often contradictory takes on language, on modernity's creature comforts, on its breaking down of geographic boundaries and on "modernity's pluralism and the changing social and cultural mores."

Antonio Margheriti's La Vergine di Norimberga (The Virgin of Nuremberg, 1964)Nazis over Nuremberg
Antonio Margheriti's
La Vergine di Norimberga
(The Virgin of Nuremberg, 1964)

Christopher Dietrich sings the praises and reveals the anti-fascist message lying at the heart of Antonio Margheriti's classic of Italian gothic horror, La Vergine di Norimberga

Ubaldo Ragona and Sidney Salkow's L'ultimo uomo della Terra (The Last Man on Earth, 1964)The Shadow Destroyers
Ubaldo Ragona and Sidney Salkow's
L'ultimo uomo della Terra
(The Last Man on Earth, 1964)

James Iaccino here uses a central Jungian archetype to shed new light on an oft-overlooked Italian/US adaptation of Richard Matheson's novel I Am Legend, starring none other than Vincent Price.

Riccardo Freda's L'Orribile segreto del dottor Hichcock (The Horrible Secret of Dr Hichcock, 1962)When sex and death
are indissoluble

Riccardo Freda's
L'Orribile segreto del dottor Hichcock
(The Horrible Secret of Dr Hichcock, 1962)

David Del Valle disects Dr Hichcock's horrible secret in this entertaining look at Riccardo Freda's Italian gothic masterpiece.

From the archive

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