Many of the typical characteristics of these films were incorporated into the later American slasher genre. But it was Dario Argento 's first feature, in , that turned the giallo into a major cultural phenomenon. Directors and stars often moved between both genres and some films could be considered under either banner, such as Massimo Dallamano's film La polizia chiede aiuto What Have They Done to Your Daughters? Critic Maitland McDonagh describes the visuals of Profondo rosso Deep Red as, "vivid colors and bizarre camera angles, dizzying pans and flamboyant tracking shots, disorienting framing and composition, fetishistic close-ups of quivering eyes and weird objects knives, dolls, marbles, braided scraps of wool Though shot in black and white and lacking the lurid violence and sexuality which would define later gialli, the film has been credited with establishing the essential structure of the genre: The overlap between the two movements is extensive enough that one of Rialto's final krimi films, Cosa avete fatto a Solange? The most prolific period, however, was the three-year timespan between and , during which time 65 different gialli were produced see filmography below. The archetypal giallo plot involves a mysterious, black-gloved psychopathic killer who stalks and butchers a series of beautiful women.
As the popularity of krimis declined in Germany, Rialto Film began increasingly pairing with Italian production companies and filmmakers such as composer Ennio Morricone and director, cinematographer Joe D'Amato , who worked on later krimi films following their successes in Italy. While most have a nominal mystery structure, they may feature bizarre or seemingly nonsensical plot elements and a general disregard for realism in acting , dialogue and character motivation. Literature[ edit ] Mondadori's translation of Edgar Wallace 's novel Jack O' Judgement rendered in Italian as Il Fante di Fiori, The Jack of Clubs , with the characteristic yellow background and the figure of a masked killer The term giallo "yellow" derives from a series of crime-mystery pulp novels entitled Il Giallo Mondadori Mondadori Yellow , published by Mondadori from and taking its name from the trademark yellow cover background. Some films for example Mario Bava's Hatchet for the Honeymoon , which features the killer as the protagonist may radically alter the traditional structure or abandon it altogether and still be considered gialli due to stylistic or thematic tropes, rather than narrative ones. Though shot in black and white and lacking the lurid violence and sexuality which would define later gialli, the film has been credited with establishing the essential structure of the genre: Black gloves, sexual ambiguity, and psychoanalytic trauma may be at the heart of each film, but the genre itself is without consistent narrative form. The overlap between the two movements is extensive enough that one of Rialto's final krimi films, Cosa avete fatto a Solange? Mario had grown old and Dario made it his own genre The most prolific period, however, was the three-year timespan between and , during which time 65 different gialli were produced see filmography below. The unsteady mental state of both victim and killer is often mirrored by the wildly exaggerated style and unfocused narrative common to many gialli. The series consisted almost exclusively of Italian translations of mystery novels by British and American writers. Though the film shares stylistic and narrative similarities with later giallo films particularly its use of color and its multiple murder plot , there is no direct evidence that subsequent Italian directors had seen it. Directors and stars often moved between both genres and some films could be considered under either banner, such as Massimo Dallamano's film La polizia chiede aiuto What Have They Done to Your Daughters? The popularity of these series eventually established the word giallo as a synonym in Italian for a mystery novel. By its very nature the giallo challenges our assumptions about how non-Hollywood films should be classified, going beyond the sort of Anglo-American taxonomic imaginary that "fixes" genre both in film criticism and the film industry in order to designate something specific. The girls are always going on some trip somewhere and they're all very smart. But it was Dario Argento 's first feature, in , that turned the giallo into a major cultural phenomenon. There's this real ominous creepy feeling. They published their own versions and mimicked the yellow covers. This ambiguity of memory and perception can escalate to delusion , hallucination and delirious paranoia. Bava drew on the krimi tradition as well as the Hitchcockian style referenced in the title, and the film's structure served as a basic template for many of the gialli that would follow. Since gialli protagonists are typically female, this can lead to what writer Gary Needham calls, " So Perverse ] in and Lucio Fulci Una sull'altra [One on Top of the Other] in , all of whom would go on to become major creative forces in the burgeoning genre. Koven posits that gialli reflect an ambivalence over the social upheaval modernity brought to Italian culture in the s. They all make decisions the audience would make. Directors soon began taking advantage of modern cinematic techniques to create a unique genre that retained the mystery and crime fiction elements of giallo novels but veered more closely into the horror and psychological thriller or psychological horror genres. Though they preceded the first giallo by a few years, German krimi films continued to be made contemporaneously with early gialli, and were also influenced by their success.
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