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Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and urban grindhouse theaters such as those that once dotted New York's Times Square. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema—including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films—and develops a theory that explains their renewed appeal to audiences today.
Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and ur
Essays focusing on European horror cinema from 1945 to the present. Features new contributions by distinguished international scholars exploring British, French
From bloodsucking schoolgirls to flesh-eating zombies, and from psychopathic killers to beasts from hell, '100 European Horror Films' provides a lively and illu
From bloodsucking schoolgirls to flesh-eating zombies, and from psychopathic killers to beasts from hell, '100 European Horror Films' provides a lively and illu
The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and conte