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8. The Giallo/Slasher Landscape: Ecologia Del Delitto, Friday The 13Th And Subtractive Spectatorship
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Il giallo a fumetti Il giallo a fumetti
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The Fantômas gene The Fantômas gene
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Sei donne per il re del delitto: from Bava to Bunker Sei donne per il re del delitto: from Bava to Bunker
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Notes Notes
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Bibliography Bibliography
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9. Kings of Terror, Geniuses of Crime: Giallo Cinema and Fumetti Neri
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Published:July 2016
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Abstract
Any attempt to nominate this or that film as the ‘first’ giallo has to negotiate the question of which version of this notoriously slippery term is being used – the giallo in its more inclusive Italian sense, ‘a metonym for the entire mystery genre’ (Koven, 2006: 2), or as a more particular B-movie filone that surfaced intermittently in the 1960s, blossomed more fully in the early to mid-1970s and has continued to appear sporadically, particularly in the films of Dario Argento.1 Either way, Mario Bava’s La ragazza che sapeva troppo/The Girl Who Knew Too Much (Italy, 1962; refashioned as The Evil Eye, 1964) and particularly Sei donne per l’assassino/Blood and Black Lace (a co-production involving Italy/West Germany/France, 1964) are often accorded seminal status in teleological accounts of the giallo as a cinematic cycle. Both have at various times had the distinction of being identified as the first ‘proper’ giallo; the former with its tourist-eyewitness heroine and the latter with its bodycount narrative, eroticised violence and overheated visual stylisation.
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