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Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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1

Pagliardini, Fabio. Brividi nel bel paese: Il cinema dell'orrore In Italia. Lecce: Youcanprint, 2022.

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2

Pezzella, Nicola. Il soprannaturale e il fantastico nel cinema messicano. Roma: Profondo rosso, 2019.

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3

Familiari, Antonio Fabio. Il seme del male: La natura nel cinema gotico. Reggio Calabria: Città del sole, 2014.

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4

Baschiera, Stefano, and Russ Hunter, eds. Italian Horror Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.001.0001.

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The first book-length academic investigation of Italian horror cinema, from the silent era to the present, this collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most representative directors (Mario Bava and Dario Argento) and the wider role it has played within popular culture.
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5

Turnock, Bryan. Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.001.0001.

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Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary's Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.
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6

New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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7

New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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8

New Israeli Horror: Local Cinema, Global Genre. Rutgers University Press, 2023.

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9

New Heritage of Horror: The English Gothic Cinema. Bloomsbury Publishing Plc, 2024.

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10

Simpson. Urban Terrors : New British Horror Cinema: 1997-2008. Hemlock Books Limited, 2012.

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11

New Heritage of Horror: The English Gothic Cinema. Bloomsbury Publishing Plc, 2024.

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12

Guida al cinema horror: Il new horror dagli anni Settanta a oggi. Bologna: Odoya, 2015.

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13

Pisters, Patricia. New Blood in Contemporary Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466950.001.0001.

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Since the new millennium, a growing number of female filmmakers have appropriated horror aesthetics for their films. In this book Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work. In this way they expand the range of perspectives relating to gendered as well as racialized themes of the horror genre. Exploring such themes as rage, trauma, sexuality, family ties and politics New Blood in Contemporary Cinema takes avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have turned the camera inward to reveal mental landscapes of pain and sorrow that translates in a poetics and aesthetics of horror, thus enlarging the general scope and stretch the emotional spectrum of the genre.
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14

Transnationalism and Genre Hybridity in New British Horror Cinema. Gwasg Prifysgol Cymru / University of Wales Press, 2021.

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15

Transnationalism and Genre Hybridity in New British Horror Cinema. Gwasg Prifysgol Cymru / University of Wales Press, 2021.

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16

Transnationalism and Genre Hybridity in New British Horror Cinema. Gwasg Prifysgol Cymru / University of Wales Press, 2021.

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17

Pisters, Patricia. New Blood in Contemporary Cinema: Women Directors and the Poetics of Horror. Edinburgh University Press, 2020.

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18

Pisters, Patricia. New Blood in Contemporary Cinema: Women Directors and the Poetics of Horror. Edinburgh University Press, 2020.

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19

Pisters, Patricia. New Blood in Contemporary Cinema: Women Directors and the Poetics of Horror. Edinburgh University Press, 2022.

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20

New Blood in Contemporary Cinema: Women Directors and the Poetics of Horror. Edinburgh University Press, 2020.

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21

Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.

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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. In going mainstream, new independent-minded filmmakers representing new creativity had to accommodate with capital and producers from old production companies. Appeal to audiences has resulting in the reimagining of the horror film and its traumas and the representation of new kinds of piety in a new subgenre Islamic themed films. Yet legacy structures and players remain, as the film industry has struggled to overcome regulation and censorship and the oligopoly of senior producers. In catering to a growing audience, the exhibition sector has become the focus of new investment as it becomes a site for competing local operators and global capital. The book argues for a reconceptualization of Indonesian cinema as pop culture with consequences to how Asian cinema is studied.
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22

A New Heritage of Horror: The English Gothic Cinema, Revised and Updated Edition. I. B. Tauris, 2007.

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23

A New Heritage of Horror: The English Gothic Cinema, Revised and Updated Edition. I. B. Tauris, 2007.

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24

Lee, Vivian. Ghostly Returns: the Politics of Horror in Hong Kong Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0013.

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This chapter examines the trend towards Hong Kong-China co-productions, during which Hong Kong horror films have been in decline due to censorship restrictions in Mainland China. While this mega-market direction is likely to continue in the foreseeable future, Hong Kong filmmakers have made fresh attempts to revitalize this popular genre and inject it with new meanings in the changed and changing context of cultural production and cultural politics in the city. Between 2012-2014, several low to medium budget horror films were released. Local audiences responded enthusiastically and many saw these as a sign of the resilience of the local popular culture to counter or at least deflate the hegemony of the Mainland market. This chapter traces the trajectory of Hong Kong horror through the pre- and post-handover decades, situating horror within the evolving discourse of identity and the issues of local histories and collective memory. It also elaborates on the politics of horror as seem from horror films produced and released in the midst of escalating social and political tensions attributable to a popular/populist “anti-China localism”. The chapter further reflects on the cultural politics of delocalization and relocalization in the context of “re-occupying Hong Kong screens.”
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25

Creed, Barbara. Return of the Monstrous-Feminine: Feminist New Wave Cinema. Taylor & Francis Group, 2022.

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26

Creed, Barbara. Return of the Monstrous-Feminine: Feminist New Wave Cinema. Taylor & Francis Group, 2022.

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27

Creed, Barbara. Return of the Monstrous-Feminine: Feminist New Wave Cinema. Taylor & Francis Group, 2022.

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28

Return of the Monstrous-Feminine: Feminist New Wave Cinema. Taylor & Francis Group, 2022.

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29

Horror Sensorium: Media and the Senses. McFarland & Company, Incorporated Publishers, 2012.

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30

Church, David. Post-Horror. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.001.0001.

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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.
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31

The horror sensorium: Media and the senses. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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32

Iaccino, James F. Jungian Reflections within the Cinema. Greenwood Publishing Group, Inc., 1998. http://dx.doi.org/10.5040/9798400675218.

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Exploring the relevance of Jungian theory as it applies to science fiction, horror and fantasy films, this text demonstrates the remarkable correlation existing between Jung's major archetypes and recurring themes in various film genres. An introduction acquaints readers with basic Jungian theory archetypes before proceeding to film analysis. A diverse selection of movie and television summaries illustrate the relationship between a particular Jungian image and the examined films. Among the various Jungian patterns studied are the father archetype, the split between persona and shadow, the search for the grail, the alchemist traveler, and the development of the child archetype. From Star Wars and Planet of the Apes to Back to the Future and Indiana Jones, the interdependence of Jungian theory and film themes and contents unfold. Creative and innovative, this text unearths new Jungian territory that will appeal not only to psychology and film studies scholars and researchers, but also to those studying communication and literature.
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33

Holmlund, Chris, Lisa Purse, and Yvonne Tasker, eds. Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839022814.

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Action Cinema Since 2000 addresses an increasingly lively and evolving field of scholarship, probing the definition and testing the potential of action cinema to reframe the mode for the 21st century. Contributors examine a broad range of content, from blockbusters to smaller independent films, originating from China, Korea, India, France, the USA, and Mexico. Ranging from 2001: A Space Odyssey (1968) to Polite Society (2023), they consider the changing modes of action cinema, with streaming assuming global importance and an ever-increasing number of generic blends. They consider under-explored areas of action film, particularly how race, ethnicity, gender, and age figure in narratives and through image and soundtracks. Overall, the book demonstrates how 21st century action cinema engages with and reflects geopolitical, creative, and industrial developments. Arguing that it continues to offer fantasies of empowerment and mobility that say much about how power is understood in diverse contexts today. This collection explores action cinema since 2000, taking account of current and previous scholarship on action and developments in action films and filmmaking. Despite well-documented socio-political shifts, economic changes, and contested public discourse around media representations in this period, there have been comparatively few comprehensive academic appraisals of recent action films, particularly of those made after 2010. Our anthology focuses, in consequence, on films released 2010–2019, with some chapters looking forward beyond that, and others looking backwards to action history. We view action as a mode rather than a genre because so much action now includes horror, espionage, comic, and thriller conventions, cuts across both big budget blockbusters and smaller independent films and is produced and released around the globe. Essays explore co-productions and work originating from China, Korea, and India as well as in France, the US, and Mexico. Some concentrate on what digital cinema brings to movement, rhythm, sound, and speed. Others consider the ways race, ethnicity, gender, and age figure in narratives and through image and soundtracks. A handful evaluate stardom and study performance. A few signal the oh-so-important contributions of stunt performers, effects artists, and sound designers. Collectively we demonstrate how 21st century action cinema engages with and reflects geopolitical, creative, and industrial developments. Streaming services have assumed global as well as regional or national importance. New generic blends have become prominent. New action bodies have come to the fore. Action cinema continues to offer fantasies of empowerment and mobility that say much about how power is understood in diverse contexts today.
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34

Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new perspectives to these well-rehearsed arguments. A brief survey of literature covers the major related works from the fields of Hong Kong cinema and horror film history, and in doing so, makes a case for the importance, timeliness and originality of this anthology. The introduction also includes a chapter-by-chapter breakdown of Hong Kong Horror Cinema, explaining the division of chapters into sections and drawing pertinent connections between the varied studies that follow.
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35

Tsang, Raymond. What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0002.

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Many Hong Kong horror films of the 1950s were pedagogical in nature, and subsequently had a great influence on the Hong Kong New Wave (1980–90). Without examining these earlier films, we cannot fully understand the practice of adaptation and the depiction of the neoi gwei (female ghost) in New Wave horror. Because of the criticism from both intellectuals and cultural elites, earlier Cantonese filmmakers had tried to elevate Cantonese cinema since the 1930s, by the means of making films with ‘healthy’ themes of nationalism and anti-superstition. In the 1950s one of the means was adaptation of classic literary novels and folk tales. Interestingly, mainly dominated by stories of female ghosts, horror films – forbidden subjects in promoting ‘healthy’ Cantonese films – were often used so as to mount social and cultural interventions. This chapter predominantly focuses on two Cantonese horror films, Beauty Raised from the Dead (1956) and Nightly Cry of the Ghost (1957), in order to examine the reincarnation of neoi gwei. I argue that the little-studied Hong Kong horror films of the 1950s can be understood as a site of political and cultural intervention and dialogue. Most of these films are about reincarnation. The production of these films can also been understood as a process of ‘reincarnation’. The practice and choice of adaptation are always a matter of politics. These filmmakers not only gave new life to various literary sources, but also created social interventions in the 1950s, exploring women’s liberation, the enlightenment of science and revolutionary potentiality.
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36

Forshaw, Barry. The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.001.0001.

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The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.
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37

Hunter, I. Q., and Matthew Melia. Jaws Book: New Perspectives on the Classic Summer Blockbuster. Bloomsbury Publishing Plc, 2022.

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38

Hunter, I. Q., and Matthew Melia. Jaws Book: New Perspectives on the Classic Summer Blockbuster. Bloomsbury Publishing Plc, 2020.

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39

Cooper, Ian. Frightmares. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993071737.001.0001.

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The horror film reveals as much, if not more, about the British psyche as the more respectable heritage film or the critically revered social realist drama. Yet, like a mad relative locked in the attic, British horror cinema has for too long been ignored and maligned. Even when it has been celebrated, neglect is not far behind and what studies there have been concentrate largely on the output of Hammer, the best-known producers of British horror. But this is only part of the story. It's a tradition that encompasses the last days of British music hall theater, celebrated auteurs such as Alfred Hitchcock and Roman Polanski and opportunistic, unashamed hacks. This book is an in-depth analysis of the home-grown horror film, each chapter anchored by close studies of key titles, consisting of textual analysis, production history, marketing and reception. Although broadly chronological, attention is also paid to the thematic links, emphasizing both the wide range of the genre and highlighting some of its less-explored avenues. Chapters focus on the origins of British horror and its foreign influences, Hammer (of course), the influence of American International Pictures and other American and European filmmakers in 1960s Britain, the 'savage Seventies' and the new wave of twenty-first-century British horror. The result is an authoritative, comprehensive and, most importantly, entertaining survey of this most exuberant field of British cinema.
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40

The Jaws Book: New Perspectives on the Classic Summer Blockbuster. New York: Bloomsbury Academic & Professional, 2020.

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41

Paunksnis, Šarūnas. Dark Fear, Eerie Cities. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199493180.001.0001.

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What haunts the city? Why is there so much pessimism in our urban lives? How does this physical and psychological insecurity of relentless competition and a desire to succeed against all odds proliferate into cinema? Dark Fear, Eerie Cities analyses a wide array of films made in the early 21st century to offer a philosophical and psychoanalytical critique of the transforming cinematic imagery. It traces the trajectory of Hindi cinema from the pre-1990s feudal family ideal to the contemporary construction of the new middle class’s subjectivities against a postcolonial backdrop. Keeping in mind the effects of globalization, market liberalization and the emergence of new forms of media and their consumption, the book provides a theoretical perspective to cinematic transformations. Paunksnis presents an interdisciplinary study of a genre of cinema in which crime thrillers and horror films are aimed at answering some of the fundamental questions of our contemporary times.
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42

Ercolani, Eugenio, and Marcus Stiglegger. Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.001.0001.

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When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.
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43

Demoni e dei: Dio, il diavolo, la religione nel cinema horror americano. Torino: Lindau, 2009.

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44

Hunter, I. Q., and Matthew Melia, eds. The Jaws Book. Bloomsbury Publishing Inc, 2020. http://dx.doi.org/10.5040/9781501347559.

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After over 40 years, Steven Spielberg’s Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film’s significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ruth Williams, and covers such diverse topics as the film’s release, reception and canonicity; its representation of masculinity, queerness and children; the use of landscape and the ocean; its status as a Western; sequels and fan-edits; and its galvanizing impact on the horror film, action movie and contemporary Hollywood itself.
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45

West, Steven. Scream. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325277.001.0001.

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Wes Craven's Scream (1996) emerged at the point where the early Eighties American slasher cycle had effectively morphed into the post-Fatal Attraction trend for Hollywood thrillers that incorporated key slasher movie tropes. Scream emerged as a spiritual successor to Wes Craven's unpopular but critically praised previous film New Nightmare (1994), which evolved from his frustration at having lost creative control over his most popular creation, Freddy Krueger, and rebirthed the character in a postmodern context. Scream appropriates many of the concepts, conceits, and in-jokes inherent in New Nightmare, albeit in a much more commercial context that did not alienate teenage audiences who were not around to see the movies that were being referenced. This book offers a full exploration of Scream, including its structure, its many reference points (such as the prominent use of Halloween as a kind of sacred text), its marketing (“the new thriller from Wes Craven” — not a horror film), and legacy for horror cinema in the new millennium.
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46

Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.

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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.
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47

Il cinema dimenticato: Fantastico e horror nei film italiani dal 1895 al 1960. Roma: Profondo rosso, 2014.

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48

Conolly, Jez, and Emma Westwood. Seconds. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859289.001.0001.

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Seconds: John Frankenheimer's criminally overlooked monolith of paranoia, part Science Fiction, part Body Horror, part noir thriller cum black comedy, a film found at the intersection of the post-McCarthy mindset, European Art Cinema, the suburban identity nightmares of The Twilight Zone and the mid-life crises of malehood aroused by 1960s counterculture. Arguably the bleakest mainstream Hollywood film ever made, it was famously booed at the 1966 Cannes Film Festival and was a box office failure upon release. Over time, the film’s critical reception has gradually turned to acknowledge its significance in the scheme of American Cinema but, throughout the wider Science Fiction Cinema community, it remains surprisingly under appreciated. This book sets out to shed light on the film’s many attributes, from its stylistic significance to its political commentary, countering the critical dismissal of a film suffering from ‘personality disorder’ to suggest that instead Seconds turned its inner identity crisis from a vice into a virtue. In the spirit of the finest Science Fiction, Seconds is both emblematic of the time in which it was made and perpetually relevant to new audiences as a portent of things to come or, for that matter, a startling reveal of the hidden here and now.
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49

Sayad, Cecilia. The Ghost in the Image. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190065768.001.0001.

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The Ghost in the Image offers a new take on the place that supernatural phenomena occupy in everyday life by examining the horror genre in fiction, documentary, and participative modes. The book covers a variety of media: spirit photography, ghost-hunting reality shows, documentary and fiction films based on the Amityville and Enfield hauntings, found-footage horror movies, experiential cinema, survival games, and creepypasta. These works transform our interest in ghosts into an interactive form of entertainment. Through a transmedial approach to horror, this book investigates our expectations regarding the ability of photography and video to work as evidence. A historical examination of technology’s role in at once showing and forging truths invites questions about our investment in its powers, which is pertinent to the so-called post-fact scenario. Behind our obsession with documenting everyday life lies the hope that our cameras will reveal something extraordinary. The obsessive search for ghosts in the image, however, shows that the desire to find them is matched by the pleasure of calling out a hoax.
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50

Il cinema dell'eccesso: Horror, erotismo, azione e molto altro nei film dei maestri dell'exploitation. Falconara Marittima - AN: Crac edizioni, 2015.

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