Bøger af Roberto Curti

Marco Ferreri (1928-1997) was one of Italian cinema's most unique auteurs. A maverick personality, he worked with some of the most popular actors of the time (Marcello Mastroianni, Michel Piccoli, Catherine Deneuve, Gerard Depardieu, Ugo Tognazzi, Carroll Baker, Roberto Benigni, Isabelle Huppert, Christopher Lambert...), and directed internationally acclaimed films. His filmography includes The Conjugal Bed (1963), The Ape Woman (1964), Dillinger Is Dead (1969), the scandalous La Grande Bouffe (1973), the absurdist western Don't Touch the White Woman! (1974), The Last Woman (1976), Bye Bye Monkey (1978) and the Charles Bukowski adaptation, Tales of Ordinary Madness (1981). Ferreri's cinema dealt in highly original and thought-provoking ways with contemporary issues: the crisis of marriage, relationships between sexes, consumerism, and political disillusionment. His films were controversial and had many censorship issues, leading to Ferreri's fame as a master provocateur. Theis book examines Marco Ferreri's life and career, placing his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of his films, with never-before-seen bits of information recovered from Italian ministerial archives and in-depth discussion of the director's unfilmed projects.

From its birth in 1913 to its abolition in 2021, film censorship marked the history of Italian cinema, and its evolution mirrored the social, political, and cultural travail of the country. During the Fascist regime and in the postwar period, censorship was a powerful political tool in the hands of the ruling party; many films were banned or severely cut. By the end of the 1960s, censors had to cope with the changing morals and the widespread diffusion of sexuality in popular culture, which led to the boom of hardcore pornography. With the crisis of the national industry and the growing influence of television, censorship gradually changed its focus and targets. The book analyzes Italian film censorship from its early days to the present, discussing the most controversial cases and protagonists. These include such notorious works as Last Tango in Paris and Salo, or the 120 Days of Sodom, and groundbreaking filmmakers such as Luchino Visconti, Federico Fellini and Pier Paolo Pasolini, who pushed the limits of what was acceptable on screen, causing scandal and public debate.

Examines the growth of the giallo genre in terms of themes, influences, narrative and style. The book explores Italian films, made-for-TV films and miniseries from the dawn of sound cinema to the present, all contextualized within the film industry and through their impact on society, culture and mores.

Elio Petri (1929-1982) was one of the most commercially successful and critically revered Italian directors. This book examines Petri's life and career, and places his work within the social and political context of postwar Italian culture, politics, and cinema.

Mario Bava's Blood and Black Lace (1964) is a legendary title, and is commonly considered as the archetypal giallo. This book explores its production history, putting it within the context of the Italian film industry of the period and includes plenty of previously unheard-of data.

Since their heyday, comics (or fumetti as they are called in Italy) had a vital part in Italy's culture and morality, even helping break boundaries. That was the case with the so-called "fumetti neri," such as DIABOLIK, KRIMINAL, SATANIK, and many others that created a sensation in the early-to-mid-1960s. Similarly, in the late 1960s the adults-only comics paved the way for a more explicit depiction of eroticism. The 1980s saw the commercial exploitation of underground comics as well as popular genre titles such as DYLAN DOG. DIABOLIKA lists the Italian films and TV series based on (or inspired by) comics, graphic novels and photonovels, as well as movies not directly adapted from comic books sport a distinct comics feel in style, characters and plot. Included are the 1960s adaptations of the lurid "fumetti neri" such as DANGER: DIABOLIK, the two KRIMINAL movies, AVENGER X and SATANIK. And we couldn't forget the comic-inspired superheroes SUPERARGO, FLASHMAN, THE THREE FANTASTIC SUPERMEN as well as films based on erotic and adults-only comics including MS. STILETTO. DIABOLIKA also provides listings for adaptations of popular comic characters such as VALENTINA, TEX and DYLAN DOG and many, many more. Also included is an essay on Turkish films inspired by Italian comics written by Turkish film scholar Kaya Özkaracalar. The book is lavishly illustrated in color with many rare set stills, lobby cards, poster art and comic book panels.

Tonino Valerii is one of Italy's best genre film directors. Starting out as Sergio Leone's assistant on For a Few Dollars More (1965), he went on to direct spaghetti westerns that stand out among the most accomplished in their class--Day of Anger (1967), The Price of Power (1969), A Reason to Live, a Reason to Die! (1972) and My Name Is Nobody (1973). He also directed the outstanding giallo My Dear Killer (1972). This book examines Valerii's life and career in depth for the first time, with exclusive interviews with the filmmaker, scriptwriters and actors, and critical analysis of his films.

Examines the Italian Gothic films of the 1980s. The book includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include a complete cast and crew list, plot summary, production history and analysis.

A self-taught culinary genius, Francesco Bracali is one of Italy's top chefs. He and his brother Luca, a sommelier, own the two-Michelin-starred restaurant ""Bracali"" in Massa Marittima, Tuscany. The book tells the story of the Bracali brothers, from the early days where their revolutionary approach to cuisine was a novelty, to today's International recognition.

Besides the great and renowned auteurs, the history of Italian cinema also includes a number of peculiar, lesser-known but very interesting filmmakers. This book examines eight Italian ""mavericks"" who were active from the late 1940s onwards: Pier Carpi, Alberto Cavallone, Riccardo Ghione, Giulio Questi, Brunello Rondi, Paolo Spinola, Augusto Tretti, and Nello Vegezzi.

Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. This book examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors.

Examines the Italian Gothic horror of the 1950s and `60s, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included.