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Cinema, Horror and the Abominations of Hell
Michael Grant

Beginning from a consideration of some ideas on aesthetics deriving from R. G. Collingwood, this essay sets Dreyer‘s Vampyr beside Fulcis The Beyond. The article then goes on to suggest something of the nature of the horror film, at least as exemplified by these two works, by placing them against the background of certain poetic procedures associated with the post-symbolist poetry of T. S. Eliot.

Film Studies
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H. P. Lovecraft and the cinema
Julian Petley

: Dark Intruder (Harvey Hart: 1964); Alien (Ridley Scott: 1979); City of the Living Dead/Paura nella città dei morti viventi (Lucio Fulci: 1980); The Beyond/L’aldila (Lucio Fulci: 1981); The Evil Dead (Sam Raimi: 1981); The Thing (John Carpenter: 1982); Aliens (James Cameron: 1986); Evil Dead II: Dead by Dawn (Sam Raimi: 1987); Cast a Deadly Spell (Martin

in Monstrous adaptations
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Paul Newland

Christopher Lee alongside US star Telly Savalas. The Devil’s Men (Costas Carayiannis, 1976) features Peter Cushing as the leader of a Greek Devil-worshipping sect. Holocaust 2000 (Alberto de Martino, 1977) is a UK/Italian co-production starring Kirk Douglas as Robert Caine, a man who plans to build a nuclear power station near a sacred cave in the Middle East. Lizard in a Woman’s Skin (aka Una lucertola con la pelle di donna and Schizoid) (Lucio Fulci, 1971) is an American International Pictures release, shot at Dear Studios in Rome, and in London. This might not, strictly

in British films of the 1970s
Exclusions and exchanges in the history of European horror
Peter Hutchings

), the latter a significant influence on Mark of the Devil . Continental European directors were coming to Britain as well, mainly during the 1970s. There were flying visits from the Spaniard Jorge Grau, who shot location material for the Eurohorror classic The Living Dead at the Manchester Morgue (1974); from the Spanish-based, Argentinian-born Leon Klimovsky to shoot scenes for the Paul Naschy vehicle Dr Jekyll versus the Werewolf (1972); and from Italian horror maestro Lucio Fulci for sequences

in Hammer and beyond
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Mary P. Wood

, before 1968 and sexual liberation, these low-budget gialli films were the staples of early evening cinema slots with a predominantly male audience. 31 In Lucio Fulci’s Non si sevizia un paperino ( Don’t Torture the Duck , 1972) a slightly unhinged village wise woman is tortured and beaten on suspicion of luring local boys to their death when the perpetrator is actually the local priest. As Mikel Koven has observed

in European film noir
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The British Brando?
Andrew Roberts

after depressing paragraph of how an attempt to branch into pop promotion and acquire British Lion resulted in the actor’s near bankruptcy. To fund the company’s payroll, he had to make forays into the dank and dismal world of the Euro-drama, that strange and dispiriting sub-genre of cinema in which a familiar and indeed respected face, looked older, tired and often with unflattering close-ups. Baker starring in Popsy Pop 12 (Jean Herman 1971) or the British-set Giallo A Lizard in a Woman’s Skin aka Unalucertola con la pelle di donna (Lucio Fulci 1971) is on a

in Idols of the Odeons
Cecilia Brioni

original base and integrate [it] into mainstream culture’ ( Gundle, 2006 : 376). In this section I analyse three early Musicarelli films starring urlatori singers, namely Lucio Fulci’s I ragazzi del juke-box (1959) and Urlatori alla sbarra (1960) and Piero Vivarelli’s Io bacio … tu baci (1961) (I Kiss … You Kiss), in order to

in Fashioning Italian youth
Valentina Vitali

itself in competition with RAI television. As giallo films began to feature police detectives whose capacity to hold the ground of objective truth is always above suspicion, their narrative strategies increasingly reproduced televisual modes of address, even as the mises en scène were spiced up with the sexier sales points (mainly violence and nudity) that were proscribed to television. The result – films by Fernando Di Leo, Lucio Fulci and others – forms today the object of an increasing number of academic publications on popular cinema in which Mario Bava is

in Capital and popular cinema