-
August
-
Five Star Movement
-
Washington Post
-
Edward Snowden
-
Language acquisition
-
British humour
-
Al Bano and Romina Power
-
Vladimir Putin
-
Artificial Intelligence
-
Artists and repertoire
-
Table tennis
-
List of Wikipedia controversies
-
Joke
-
Prince George of Cambridge
-
Giuseppe Ungaretti
-
International English
-
Mosquito
-
Flying saucer
-
Breakfast cereal
-
Bingo (UK)
-
Multilingualism
-
Religion in ancient Rome
-
Giallo
-
The Shock Doctrine
-
PDF (Portable Document Format)
-
Nazi plunder
-
Nanotechnology
-
Jennifer Lopez
-
Decline of Detroit
-
Firefox OS
-
Burj Khalifa (tallest building in the world)
|
WIKIMAG n. 9 - Agosto 2013
Giallo
Text is available under the
Creative Commons Attribution-ShareAlike License; additional
terms may apply. See
Terms of
Use for details.
Wikipedia® is a registered trademark of the
Wikimedia Foundation,
Inc., a non-profit organization.
Traduzione
interattiva on/off
- Togli il segno di spunta per disattivarla
Giallo (Italian pronunciation: [ˈdʒallo],
plural gialli) is an Italian 20th-century
genre of
literature and film, which in Italian indicates
crime fiction and
mystery. In the English language it refers to a genre similar to the
French
fantastique genre and includes elements of
horror fiction and
eroticism. The word "giallo"
is Italian for "yellow" and stems from the origin of the genre in Italy
as a series of cheap
paperback mystery novels which all had trademark yellow covers.
Literature
The term
giallo derives from a series of crime-mystery
pulp novels entitled
Il Giallo Mondadori (which translates as the Mondadori Yellow
Books), first published by
the Mondadori publishing house, starting in 1929, and taking its
name from the trademark yellow cover background. The series almost
exclusively consisted of Italian translations of mystery novels by
British and American writers, such as
Agatha Christie,
Ellery Queen,
Edgar Wallace,
Ed
McBain,
Rex
Stout,
Raymond Chandler, etc.
Published as cheapish paperbacks, the success of the "giallo" novels
soon began attracting the attention of other publishing houses, who
began releasing their own versions, mimicking the traditional yellow
covers. The Giallo Mondadori popularity eventually established
the word giallo in Italian as the widespread translation of the
English mystery novel.
Film
For Italian audiences, the term "giallo" has come to refer to any
kind of thriller, regardless of where it was made. Thus American,
British or other thrillers such as
Psycho,
Vertigo or
Peeping Tom are, for Italian-speaking audiences, examples of
gialli. For English-speaking audiences however, the term has over time
come to refer only to a very specific type of Italian-produced thriller
which Italian audiences have historically referred to as "thrilling
all'italiana" (in other words, thrillers in an Italian style) or,
sometimes, "spaghetti thrillers". So, for Italian audiences, the term
"giallo" denotes a broad genre (the thriller film in general), but to
English-speaking fans denotes only the specific subgroup of thrillers
that were actually produced in Italy.
The film subgenre that emerged from these novels in the 1960s began
as literal adaptations of the books, but soon began taking advantage of
modern cinematic techniques to create a unique genre which veered into
horror and
psychological thrillers. The giallo film genre proved to be a major
influence on the later
slasher film genre.
Characteristics
Giallo films are generally characterized as gruesome murder-mystery
thrillers that combine the suspense elements of a Hitchcock film with
scenes of shocking horror featuring excessive bloodletting, stylish
camerawork, and often jarring musical arrangements. The standard plot,
used in countless films, involves a mysterious, black-gloved
psychopathic killer who stalks and butchers a series of beautiful women.
The killings are invariably violent and gory, including throat-slashings
and decapitations. These murders often occur when the victim is most
vulnerable (showering, taking a bath, or scantily clad). The literary
whodunit element is retained, while being filtered through Italy's
longstanding tradition of
opera and
staged
grand guignol drama. There are also stories that involve
supernatural forces, ghostly spirits, etc. Giallo films often include
liberal amounts of nudity and sex, with several actresses becoming
strongly associated with the genre such as
Edwige Fenech,
Barbara Bach,
Daria Nicolodi,
Barbara Bouchet,
Suzy Kendall,
Ida
Galli, and
Anita Strindberg.
Gialli typically introduce strong psychological themes of madness,
alienation and paranoia. For example,
Sergio Martino's
Your Vice Is a Locked Room and Only I Have the Key was
explicitly based on
Edgar Allan Poe's short story "The
Black Cat". A typical giallo finale will reveal the killer to be a
mentally disturbed madman (or woman) posing throughout the film as a
very normal, even subdued, individual, while the more obvious suspects
turn out to be red herrings. Typically the killer is well-hidden with a
hat, sunglasses, gloves, and/or trench coat to conceal their features,
and even gender.
One reason this film genre remains unique is its expressive use of
music, most notably
Dario Argento's collaborations with
Ennio Morricone and his musical director
Bruno Nicolai, and later with the band
Goblin.
Gialli often feature titles based on animal references or the use of
numbers. Examples of the former trend include
Giornata nera per l'ariete,
La morte negli occhi del gatto and
La tarantola dal ventre nero; while instances of the latter
include
Sette note in nero and
Sette scialli di seta gialla.
Development
As well as the literary giallo tradition, the films were also
initially influenced by the German "krimi"
phenomenon—originally black and white films of the 1960s that were based
on
Edgar Wallace stories. A particularly good example is The Monster
of London City (1964) which seems almost like a prototype of the
Italian giallo in every aspect. The Swedish director
Arne Mattsson has also been pointed out as an influence, in
particular his film Mannequin in Red (1958).
The first giallo film is
Mario Bava's
The Girl Who Knew Too Much (1963). Its title alludes to
Alfred Hitchcock's famous
The Man Who Knew Too Much (1956), again establishing strong
links with Anglo-American culture. Bava's stylish and influential
Blood and Black Lace (1964) introduced 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.
Dario Argento's first feature,
The Bird with the Crystal Plumage (1970), 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. Its success encouraged a frenzy of
Italian film makers to shoot more colorful and gory films. Soon the
giallo became a genre of its own, with its own rules and with a typical
Italian flavour: adding additional layers of intense colour and style.
The term "giallo" finally became synonymous with a heavy, theatrical and
stylised visual element.
The genre had its heyday from 1968 through 1978, with dozens of films
released. The most prolific period however was the three-year timespan
between 1971 and 1973, during which time 65 different gialli were
produced (see filmography below). Among the directors represented with
notable works in this genre are
Mario Bava,
Dario Argento,
Lucio Fulci,
Sergio Martino and
Umberto Lenzi.
Pupi Avati went as far as satirizing the genre in 1977 with a
slapstick giallo titled Tutti defunti... tranne i morti.
Although often based around crime and detective work, gialli should
not be confused with the other popular Italian crime genre of the 1970s,
the
poliziotteschi, which refers to "tough cop", action-oriented films
(largely influenced by
Dirty Harry,
The Godfather, and
The French Connection). Directors and stars often moved between
both genres, and some films could be considered under either banner,
such as Massimo Dallamano's 1974 film La polizia chiede aiuto (What
Have They Done to Your Daughters?).
Influence
The giallo cycle has had a lasting effect on horror films and murder
mysteries made outside of Italy since the late 1960s. 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 1980s. In
particular, two violent shockers from Mario Bava,
Hatchet for the Honeymoon (1970) and
Twitch of the Death Nerve (1971) were especially influential.
Early examples of the giallo effect can be seen in the British film
Berserk! (1967) and the American mystery-thrillers
No Way to Treat a Lady (1968),
Klute
(1971),
Pretty Maids All in a Row (1971, based on an Italian novel),
Alfred Hitchcock's
Frenzy
(1972), Vincent Price's
Madhouse (1974) and
Eyes of Laura Mars (1978).
Berberian Sound Studio (2012) offers an affectionate tribute to
the genre.
Giallo filmography
1960s
-
The Girl Who Knew Too Much (Mario
Bava, 1963; Italian: La ragazza che sapeva troppo) aka
The Evil Eye
- The Monster of London City (1964) This German crimi film
was an obvious template for the giallo form
-
Blood and Black Lace (Mario Bava, 1965; Italian: Sei
donne per l'assassino / Six Women for the Murderer)
- Libido (Ernesto
Gastaldi, 1965)
-
The Third Eye (Mino
Guerrini, 1966; Italian: Il terzo occhio)
- A For Assassin (Angelo Dorigo, 1966; Italian: A...
come Assassino)
-
Omicidio per appuntamento / Murder by Appointment
(Mino Guerrini, 1966) aka Date For A Murder
- The Killer Without a Face (Angelo Dorigo, 1967: Italian:
Assassino senza volto)
- The Sweet Body of Deborah (Ernesto Gastaldi, 1968;
Italian: Il dolce corpo di Deborah)
-
La morte ha fatto l'uovo / Death Laid An Egg (Giulio
Questi, 1968) aka Plucked, aka A Curious Way to Love
- Naked... You Die! (Antonio
Margheriti, 1968, Italian: Nude... si muore) aka The
Young, the Evil and the Savage, aka The Schoolgirl Killer
- Deadly Inheritance (Vittorio Sindoni, 1968; Italian:
L'assassino ha le mani pulite / The Killer Has Clean Hands)
- A Black Veil for Lisa (Massimo
Dallamano, 1968; Italian: La morte non ha sesso /
Death Has No Sex)
-
Orgasmo (Umberto
Lenzi, 1968) released theatrically in USA as Paranoia
- Paranoia (Umberto Lenzi, 1969) released in USA as A
Quiet Place To Kill (not to be confused with "Orgasmo")
- So Sweet...So Perverse (Umberto Lenzi, 1969; Italian:
Così dolce...così perversa)
- Satan's Baby Doll (Ferrruccio Casapinta, 1969; Italian:
La bambola di Satana)
-
Una sull'altra / One on Top of the Other (Lucio
Fulci, 1969) aka Perversion Story
- The House That Screamed (Narcisco Serrador, 1969;
Spanish: La Residencia)
- Death Knocks Twice (Harald Philip, 1969; Italian: La
morte bussa due volte) aka Blonde Bait for the Murderer,
aka Hard Women, aka The Blonde Connection
-
Double Face (Riccardo
Freda, 1969: Italian: A doppia faccia) aka Liz et
Helen
1970s
-
The Bird with the Crystal Plumage (Dario
Argento, 1970; Italian: L'uccello dalle piume di cristallo)
aka Phantom of Terror, aka The Gallery Murders,
- Macabre (Javier Seto, 1970; Spanish: Viaje al Vacio/
Journey into Emptiness) aka The Invisible Assassin,
aka Shadow of Death
-
The Man with Icy Eyes (Alberto de Martino, 1970; Italian:
L'uomo dagli occhi di ghiaccio)
-
Five Dolls for an August Moon (Mario
Bava, 1970; Italian: 5 bambole per la luna d'agosto) aka
Island of Terror
-
Hatchet for the Honeymoon (Mario Bava, 1970; Italian: Il
rosso segno della follia / The Red Sign of Madness) aka
Blood Brides
-
La morte risale a ieri sera / Death Occurred Last Night
(Duccio Tessari, 1970)
- A Suitcase For a Corpse (Alfonso
Brescia, 1970; Italian: Il tuo dolce corpo da uccidere /
Your Sweet Body to Murder)
-
Le foto proibite di una signora per bene / Forbidden
Photos of a Lady Above Suspicion (Luciano
Ercoli, 1970)
- Kill the Fatted Calf and Roast It (Salvatore Samperi,
1970; Italian: Uccidete il vitello grasso e arrostitelo)
- In the Folds of the Flesh (Sergio Bergonzelli, 1970;
Italian: Nelle pieghe della carne)
- The Weekend Murders (Michele Lupo, 1970; Italian:
Concerto per pistola solista) aka The Story of a Crime
-
A Lizard in a Woman's Skin (Lucio Fulci, 1971; Italian:
Una lucertola con la pelle di donna) aka Schizoid
-
The Fifth Cord (Luigi Bazzoni, 1971; Italian: Giornata
nera per l'ariete / Black Day for the Ram) aka Evil
Fingers
- Oasis of Fear (Umberto
Lenzi, 1971; Italian: Un posto ideale per uccidere /
An Ideal Place for Murder) aka Dirty Pictures
-
The Strange Vice of Mrs. Wardh (Sergio
Martino, 1971; Italian: Lo strano vizio della Signora Wardh)
aka Blade of the Ripper, aka Next!, aka The Next
Victim
-
The Case of the Scorpion's Tail (Sergio Martino, 1971;
Italian: La coda dello scorpione / Tail of the Scorpion)
-
Black Belly of the Tarantula (Paolo Cavara, 1971; Italian:
La tarantola dal ventre nero)
-
The Cat o' Nine Tails (Dario Argento, 1971; Italian: Il
gatto a nove code)
-
The Bloodstained Butterfly (Duccio Tessari, 1971; Italian:
Una farfalla con le ali insanguinate)
-
Four Flies on Grey Velvet (Dario Argento, 1971; Italian:
4 mosche di velluto grigio)
- My Dear Killer (Tonino Valerii, 1971; Italian: Mio
caro assassino)
- Marta (Jose Antonio Nieves Conde, 1971; Italian:
...dopo di che, uccide il maschio e lo divora / After That,
It Kills and Devours the Male)
- Amuck! (Silvio Amadio, 1971; Italian: Alla ricerca del
piacere / In Pursuit of Pleasure) aka Maniac Mansion,
aka Leather and Whips, aka Hot Bed of Sex
- The Double (Romolo Guerrieri, 1971; Italian: La
Controfigura)
- Cross Current (Tonino Ricci, 1971; Italian: Un
Omicidio perfetto a termine di legge / A Perfect Murder
According to Law)
-
Twitch of the Death Nerve (Mario Bava, 1971; Italian:
Reazione a catena / Chain Reaction) aka Ecologia del
delitto / Ecology of Crime, aka A Bay of Blood,
aka Last House on the Left, Part 2
-
The Iguana with the Tongue of Fire (Riccardo
Freda, 1971; Italian:
L'iguana dalla lingua di fuoco)
- The Red Headed Corpse (Renzo Russo, 1971; Italian: La
rossa dalla pelle che scotta) aka The Sensuous Doll
-
They Have Changed Their Face (Corrado Farina, 1971; Italian:
Hanno cambiato faccia)
-
Murder By Design (Maurizio Lucidi, 1971; Italian: La
vittima designata / The Designated Victim)
-
Slaughter Hotel (Fernando Di Leo, 1971; Italian: La
bestia uccide a sangue freddo / The Beast Kills in Cold Blood)
aka Asylum Erotica, aka The Cold-Blooded Beast
- The Fourth Victim (Eugenio
Martin, 1971; Italian: In fondo alla piscina / At the
Front of the Pool) aka Death at the Deep End of the Pool,
aka La ultima senora Anderson / The Last Mrs. Anderson)
- The Devil Has Seven Faces (Osvaldo Civirani, 1971;
Italian: Il diavolo ha sette facce) aka The Devil with
Seven Faces
- Jack the Ripper of London (Jose Luis Madrid, 1971,
Spanish: Jack el destripador de Londres) aka 7 Murders for
Scotland Yard, aka 7 Corpses for Scotland Yard
- Death Walks on High Heels (Luciano Ercoli, 1971; Italian:
La morte cammina con i tacchi alti )
-
Cold Eyes of Fear (Enzo G. Castellari, 1971; Italian: Gli
occhi freddi della paura) aka Desperate Moments
- In the Eye of the Hurricane (Jose Maria Forque, 1971;
Italian: La volpe dalla coda di velluto / The Fox with the
Velvet Tail)
- The Glass Ceiling (Eloy de la Iglesias, 1971) stars Patty
Sheppard and Emma Cohen
-
The Night Evelyn Came Out of the Grave (Emilio
Miraglia, 1971; Italian: La notte che Evelyn uscì dalla tomba)
-
The Case of the Bloody Iris (Giuliano Carnimeo, 1972;
Italian: Perché quelle strane gocce di sangue sul corpo di
Jennifer? / What Are Those Strange Drops of Blood on
Jennifer's Body?
-
Don't Torture a Duckling (Lucio
Fulci, 1972; Italian: Non si sevizia un paperino) aka
The Long Night of Exorcism
-
Who Killed the Prosecutor and Why? (Giuseppe Vari, 1972)
-
La morte accarezza a mezzanotte / Death Walks at Midnight
(Luciano Ercoli, 1972)
- An Open Tomb...An Empty Coffin (Alfonso Balcazar, 1972;
Spanish: La casa de las muertas vivientes / House of the
Living Dead)
-
Who Saw Her Die? (Aldo
Lado, 1972; Italian: Chi l'ha vista morire?)
- A White Dress for Mariale (Romano Scavolini, 1972;
Italian: Un blanco vestito per Mariale) aka Spirits of
Death
-
Your Vice Is a Locked Room and Only I Have the Key (Sergio
Martino, 1972; Italian:
Il tuo vizio è una stanza chiusa e solo io ne ho la chiave)
aka Gently Before She Dies, aka Eye of the Black Cat,
aka Excite Me!
-
Casa d'appuntamento / House of Rendez-vous
(Ferdinando Merighi, 1972) aka The Bogey Man and the French
Murders, aka The French Sex Murders)
- Smile of the Hyena (Silvio Amadio, 1972; Italian: Il
sorriso della iena) aka Smile Before Death
-
What Have You Done to Solange? (Massimo
Dallamano, 1972; Italian: Cosa avete fatto a Solange?)
aka Secret of the Green Pins, aka Who's Next?, aka
Terror in the Woods
-
Il coltello di ghiaccio / Knife of Ice (Umberto
Lenzi, 1972) aka Detrás del Silencio / After the Silence,
aka Vertigine
- Murder Mansion (Francisco Lara Polop, 1972; Italian:
Quando Marta urlo dalla tombe / When Marta Screams from the
Grave) aka The House in the Fog
-
All the Colors of the Dark (Sergio Martino, 1972; Italian:
Tutti i colori del buio) aka Day of the Maniac, aka
They're Coming to Get You!
- The Killer is on the Phone (Alberto de Martino, 1972;
Italian: L'assassino e' al telefono) aka Scenes From a
Murder
- Tropic of Cancer (Edoardo Mulargia, 1972; Italian: Al
Tropico del Cancro) aka Death in Haiti
-
The Dead Are Alive (Armando
Crispino, 1972; Italian: L'etrusco uccide ancora / The
Etruscan Kills Again)
- So Sweet, So Dead (Roberto Montero, 1972; Italian:
Rivelazione di un maniaco sessuale) aka The Slasher is the
Sex Maniac, aka Penetration
- Delirium (Renato
Polselli, 1972; Italian: Delirio caldo)
-
The Short Night of the Glass Dolls (Aldo
Lado, 1972; Italian: La corta notte delle bambole di vetro)
aka Paralyzed
- Seven Blood-Stained Orchids (Umberto Lenzi, 1972;
Italian: Sette orchidee macchiate di rosso)
-
Sette scialli di seta gialla / Crimes of the Black Cat
(Sergio Pastore, 1972)
-
Naked Girl Killed in the Park (Alfonso Brescia, 1972;
Italian: Ragazza tutta nuda assassinata nel parco)
- The Two Faces of Fear (Tulio Demichelli, 1972; Italian:
I due volti della paura)
-
Passi di danza su una lama di rasoio / Dance Steps on a
Razor's Edge (Maurizio Pradeux, 1973; International title:
Death Carries a Cane) aka Maniac at Large, aka
Tormentor
-
Torso (Sergio Martino, 1973; Italian: I corpi presentano
tracce di violenza carnale / The Bodies Show Traces of Carnal
Violence)
- The Flower with the Petals of Steel (Gianfranco Piccioli,
1973; Italian: Il fiore dai petali d'acciaio) aka The
Flower with the Deadly Sting
- Seven Deaths in the Cat's Eye (Antonio Margheriti, 1973;
Italian: La morte negli occhi del gatto / Death in the
Eyes of the Cat)
- Blue Eyes of the Broken Doll (Carlos
Aured, 1973; Spanish: Los ojos azules de la muñeca rota)
aka House of Psychotic Women
-
The Bloodstained Lawn (Riccardo Ghione, 1973; Italian: Il
prato macchiato di rosso)
- Love and Death on the Edge of a Razor (Giusseppe
Pellegrini, 1973; Italian: Giorni d'amore sul filo di una lama)
aka Muerte au Rasoir
- The Girl in Room 2-A (William Rose, 1973, Italian: La
casa della paura / The House of Fear) aka The
Perversions of Mrs. Grant
-
L'arma, l'ora, il movente (Francesco Mazzei, 1973; English:
The Weapon, The Hour, The Motive)
-
The Red Queen Kills Seven Times (Emilio
Miraglia, 1973; Italian: La dama rossa uccide sette volte)
aka Blood Feast, aka Feast of Flesh
- No One Heard the Scream (Eloy de la Iglesia, 1973;
Spanish: Nadie oyó gritar)
- The Perfume of the Lady in Black (Francesco Barilli,
1973; Italian: Il profumo della signora in nero)
-
Five Women for the Killer (Stelvio Massi, 1974; Italian:
Cinque donne per l'assassino)
- Eyeball (Umberto Lenzi, 1974; Italian: Gatti rossi in
un labirinto di vetro / Red Cats in a Glass Maze) aka
Wide-Eyed in the Dark
-
Macchie solari / Autopsy (Armando
Crispino, 1974
- Spasmo (Umberto Lenzi, 1974)
-
Puzzle (Duccio Tessari, 1974; Italian: L'uomo senza
memoria / "The Man Without a Memory)
- A Dragonfly For Each Corpse (León
Klimovsky, 1974; Spanish: Una libélula para cada muerto)
-
The Killer Reserved Nine Seats (Giuseppe Benati, 1974)
-
What Have They Done to Your Daughters? (Massimo
Dallamano, 1974; Italian: La polizia chiede aiuto /
The Police Need Help) aka The Co-ed Murders
- Ciak si muore (Mario Moroni, 1974; rough translation:
Click...She Dies)
-
The Killer Must Kill Again (Luigi
Cozzi, 1974; Italian: L'assassino è costretto ad uccidere
ancora) aka Il Ragno (The Spider), aka The Dark
is Death's Friend
- The Killer Is One of the Thirteen (Javier Aguirre, 1974;
Spanish: El asesino está entre los trece)
- All the Screams of Silence (Ramon Barco, 1974, Spanish:
Todo los gritos del silencio)
- The Killer Wore Gloves (Juan Bosch, 1974; Spanish: La
Muerte llama a las diez / Death Calls at Ten) aka La
calde labbra del carnifice / The Hot Lips of the Killer
- The Killer With a Thousand Eyes (Juan Bosch, 1974;
Spanish: Los mil ojos del asesino) aka On The Edge
-
Deep Red (Dario Argento, 1975; Italian: Profondo rosso)
aka The Hatchet Murders
-
Nude per l'assassino / Strip Nude for your Killer (Andrea
Bianchi, 1975)
- Reflections in Black (Tano Cimarosa, 1975; Italian: Il
vizio ha le calze nere / Vice Wears Black Hose)
- The Fish With the Gold Eyes (Pedro Luis Ramirez, 1974,
Spanish: El pez del los ojos de oro)
- Too Young to Die (Sergio Martino, 1975; Italian: Morte
sospetta di una minorenne / The Suspicious Death of a Minor)
-
The Bloodsucker Leads the Dance ((Alfredo Rizzo, 1975;
Italian: La sanguisuga conduce la danza) aka The Passion
of Evelyn
-
A tutte le auto della polizia (Mario Caiano, 1975; English:
Calling All Police Cars)
-
The House with Laughing Windows (Pupi
Avati, 1976; Italian: La casa dalle finestre che ridono)
- Death Steps in the Dark (Maurizio Pradeux, 1976; Italian:
Passi di morte perduti nel buio)
-
Plot of Fear (Paolo Cavara, 1976; Italian: E tanta paura)
- Crazy Desires of a Murderer (Filippo Walter Ratti, 1977;
Italian: I vizi morbosi di una governante)
-
Sette note in nero / The Psychic (Lucio Fulci, 1977)
aka Murder to the Tune of Seven Black Notes
-
The Pajama Girl Case (Flavio Mogherini, 1977; Italian:
La ragazza dal pigiama giallo / The Girl in the Yellow
Pyjamas)
- Watch Me When I Kill (Antonio Bido, 1977; Italian: Il
gatto dagli occhi di giada / The Cat with the Jade Eyes)
aka The Cat's Victims
-
The Monster (Luigi Zampa, 1977; Italian: Il Mostro)
aka Criminal
- Hotel Fear (Francesco Barilli, 1977; Italian: Pensione
Paura)
- Nine Guests for a Crime (Ferdinando Baldi, 1977; Italian:
9 ospiti per un delitto) aka A Cry in the Night
- The Sister of Ursula (Enzo Milioni, 1978; Italian: La
sorella di Ursula) aka La muerte tiene ojos (Death Has
Eyes)
-
Killer Nun (Giulio Berutti, 1978; Italian: Suir omicidi)
aka Deadly Habit
- Red Rings of Fear (Massimo Dallamano, 1978; Italian:
Enigma rosso) aka Virgin Terror, aka Trauma
-
The Bloodstained Shadow (Antonio
Bido, 1978; Italian: Solamente nero / Only Blackness)
-
The Perfect Crime (Giuseppe Rosati, 1978; Italian:
Indagine su un delitto perfetto)
- Thrauma (Gianni Martucci, 1979; Italian: Il mistero
della casa maledetta / Mystery of the Cursed House) aka
Trauma
- Thrilling in Venice (Mario
Landi, 1979) aka Giallo in Venice, aka Giallo a
Venezia, aka Giallo Venetian Style
1980s
- Murder Obsession (Riccardo Freda, 1980; Italian:
Follia omicida) aka Fear, aka The Wailing, aka
The Murder Syndrome
- The Secret of Seagull Island (Nestore Ungaro, 1981;
Italian: L'isola del gabbiano)
- Madhouse (Ovidio Assonitis, 1981) aka There Was a
Little Girl
-
Tenebrae (Dario Argento, 1982) aka Unsane
- The Scorpion with Two Tails (Sergio Martino, 1982;
Italian: Assassinio al cimitero etrusco / Murder in the
Etruscan Cemetery)
-
A Blade in the Dark (Lamberto
Bava, 1982; Italian: La casa con la scala nel buio /
The House with the Dark Staircase)
-
The New York Ripper (Lucio Fulci, 1982; Italian: Lo
squartatore di New York)
- Carnal Crime (Cesare Canaveri, 1982; English: Delitto
Carnale)
- Extrasensorial (Alberto de Martino, 1983) aka Blood
Link
-
Mystère (Carlo Vanzina, 1983) aka Murder Near Perfect
- The House of the Yellow Carpet (Carlo Lizzani, 1983;
Italian: La casa del tappeto giallo)
-
Murder Rock (Lucio Fulci, 1984; Italian: Murderock -
uccide a passo di danza) aka The Demon Is Loose!, aka
Murder Rock - Dancing Death
- Sweets for a Stranger (Franco Ferrini, 1985; Italian:
Caramelle da uno sconosciuto)
- Formula For a Murder (Alberto de Martino, 1985) aka 7
Hyden Park - La casa maledetta
- The House with the Blue Shutters (Beppe Cino, 1986;
Italian: La casa del buon retorno)
- The Killer Has Returned (Camillo Teti, 1986; Italian:
L'assassino e' ancora tra noi)
- Delitti (Giovanna Lenzi, 1986; English: Crimes)
- You'll Die at Midnight (Lamberto Bava, 1986; Italian:
Morirai a mezzanotte) aka The Midnight Killer, aka
Midnight Horror
- The Monster of Florence (Cesare Ferrario, 1986; Italian:
Il mostro di firenze)
-
Phantom of Death (Ruggero Deodato, 1987; Italian: Un
delitto poco comune / An Uncommon Crime) aka Off
Balance
-
Stage Fright (Michele
Soavi, 1987; Italian: Deliria) aka Aquarius, aka
Bloody Bird
-
Delirium (Lamberto Bava, 1987; Italian: Le foto di Gioia
/ Photos of Gioia)
-
Camping del terrore / Body Count (Ruggero Deodato,
1987) aka The Eleventh Commandment
- Too Beautiful to Die (Dario di Piana, 1988; Italian:
Sotto il vestito niente 2 / Nothing Underneath 2)
- Dial: Help (Ruggero Deodato, 1988; Italian: Minaccia
d'amore / Love Threat)
- Obsession: A Taste for Fear (Piccio Raffanini, 1988;
Italian: Pathos - Un sapore di paura)
-
Opera (Dario Argento, 1988) aka Terror at the Opera
- The Murder Secret (Mario Bianchi, Lucio Fulci, 1988;
Italian: Non aver paura della zia Marta / Don't Be Afraid
of Aunt Martha) aka Aunt Martha Does Dreadful Things
- Massacre (Andrea Bianchi, 1989)
-
Nightmare Beach (Umberto Lenzi, 1989) aka Welcome To
Spring Break
- Arabella, the Black Angel (Stelvio, 1989) aka Black
Angel
1990s – TO
PRESENT
- Homicide in Blue Light (Alfonso Brescia, 1991; Italian:
Omicidio a luce blu)
-
Trauma (Dario Argento, 1992) aka Dario Argento's Trauma
- Misteria (Lamberto Bava, 1992) aka Body Puzzle
- Circle of Fear (Aldo Lado, 1992) aka The Perfect Alibi
- Dangerous Attraction (Bruno Mattei, 1993)
- Eyes Without a Face (Bruno Mattei, 1994; Italian; Gli
occhi dentro)
- The Strange Story of Olga O (Antonio Bonifacio, 1995)
written by Ernesto Gastaldi
-
The Stendhal Syndrome (Dario Argento, 1996; Italian: La
sindrome di Stendhal)
- The House Where Corinne Lived (Maurizio Lucidi, 1996;
Italian: La casa dove abitava Corinne)
- Fatal Frames (Al Festa, 1996)
- Wax Mask (Sergio Stivaletti, 1997; Italian: M.D.C. –
Maschera di cera)
-
Sleepless (Dario Argento, 2001; Italian: Non ho sonno)
-
The Card Player (Dario Argento, 2004; Italian: Il cartaio)
- Eyes of Crystal (Eros Puglielli, 2004; Italian: Occhi
di cristallo)
-
Do You Like Hitchcock? (Dario Argento, 2005; Italian: Ti
piace Hitchcock?)
-
Giallo (Dario Argento, 2009)
- Masks (Andreas Marschall, 2011)
-
Tulpa (Federico Zampaglione, 2012)
References
- Sources
External links
|
|
1)
scrivi
le parole inglesi dentro la
striscia gialla 2)
seleziona il testo 3)
clicca "Ascolta il testo"
DA INGLESE A ITALIANO
Inserire
nella casella Traduci la parola
INGLESE e cliccare
Go.
DA ITALIANO A INGLESE
Impostare INGLESE anziché italiano e
ripetere la procedura descritta.
|
|