Guide Il giro del mondo in ottanta giorni (Classici) (Italian Edition)

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In an innovative discussion of the locales and settings of the Black Emanuelle films, which he labels 'travelogues of desire', this chapter shows that these depictions of sexual and monstrous Otherness is, to a certain extent, invited by exotic locations. As M e n d i k observes, the classical white Emmanuelle hardly manages to penetrate these locations, always staying the outsider. Her sexual performances remain unfinished attempts, often only satisfying a curiosity.

The figure of Black Emanuelle however turns the out-of-the-ordinary sexual activities into undesirable ones. Obviously, as Mendik is quick to acknowledge, such issues of estranging indigenous features are not new, and he mentions the M o n d o film as a prime example of how it has been exploited before. But he goes beyond this by also considering the place and role of Laura Gemser, the Indonesian actress playing Black Emanuelle, as constantly shifting between accepted and unacceptable sexual desires, hence turning the usually fixed notion of monstrosity into a dynamic one local and temporal.

As Mendik points out, this too can be traced back to the original Emmanuelle series, for whenever a non-white local is involved in the sexual act, it is described as 'revolting' or 'impure'. T h e Black Emanuelle films make explicit that unease, and turn it into the prime narrative and exploitative drive. As a result, Laura Gemser's persona almost becomes a primus locus for sexual Otherness in the postcolonial era. It is this eclectic mixture of experimental style and 'explicit' 11 sexual content that is central to Colin Odell and Michelle Le Blanc's analysis of the French filmmaker Jean Rollin.

In their chapter, 'Jean Rollin: Le Sang D ' U n Poete du Cinema', they argue that while Rollins erotic vampire and supernatural horror films have often been shunned by mainstream critics, they represent a 'crucial blurring of art and artifice' occurring within the so-called 'Eurotrash' domain. While Odell and Le Blanc outline the way in which Rollin draws on certain mass cultural traditions including pulp novels of the s, pop art and the 'primitive' traditions of silent cinema , they see the director's film style is far more 'painterly' than populist. Here, the authors point to Rollins repeated use of stylistic features such as long takes and static shots, both of which allow the viewer to contemplate and scrutinise certain features represented within the film frame.

Alongside the use of these stylistic features, Odell and Le Blanc also identify aspects of Rollins mise-en-scene such as his use of props as another way in which his films balance 'the pulp aesthetic and art aesthetic with striking results'. Here, decorations, objects and interiors come to occupy as much on-screen significance as actors themselves, while the placement of both people and props in created or positioned stages points towards a self-reflexive policy of filmmaking traditionally associated with art cinema.

While the authors go on to explore other aspects of Jean Rollins experimental film style, they also address issues of sexual representation in the latter part of the chapter. For a director often associated with both erotic horror and also some examples of hardcore pornography , it comes as little surprise that Rollins films have frequently been dismissed on grounds of sexism. However, for Odell and Le Blanc, the director's work remains 'no more pornography than a painting by Delvaux'.

For them, Rollins female creations achieve ultimate power precisely because of their unashamed sexuality, while their male counterparts remain nothing more than two-dimensional characters. Whereas certain cycles of Italian 'sex and death' cinema have been successfully documented and 'rescued' by 'trash' cinema theorists, Leon Hunt reassesses a marginal genre anomaly in his chapter 'Burning O i l and Baby O i l : Bloody Pit of Horror.

For Hunt, Massimo Puppillo's film has been relegated to the irredeemable end of Italian exploitation cinema for a number of reasons. Rather than dismissing Pupillo's film as irrelevant, Hunt argues that its hybrid features can be traced to the complex patterns of film production and regionally distinct modes of audience reception that govern Italian genre cinema.

Employing Christopher Wagstaff's influential work on the 'electrocardiogram' principle at play in Italian popular cinema, Hunt argues that this brand of popular European film works in opposition to the standards of classical Hollywood by emphasising elements of excitement, tension or titillation, rather than the narrative trajectory as a whole. As a result, strict generic boundaries are never observed in a system of cinema that frequently offered differing thrills from disparate film formulas to the distinct spectator groups that consumed these variants of popular culture.

Having established the reasons behind the Bloody Pit of Horror's incongruous formal features, Hunt goes on to explote some of the issues of male sexuality that the Peplum's elements evoke in the film.

Il giro del mondo in 80 giorni - Stardust

Pointing to the inclusion of the former Mr Universe and frequent Peplum star Mickey Hargitay in the movie's leading role, Hunt argues that Pupillo's film offers an atypical horror characterisation of male narcissism and suffering that warrants the serious consideration offered by this lively account. Here, the filmmaker explains the motivations behind his relocation to Spain to launch the Fantastic Factory with leading producer Julio Fernandez.

The Fantastic Factory can basically be defined as a 'horror Hollywood' located in Barcelona. The production house aims to draw on leading genre talent from across the world, while maintaining the nationally specific traditions of Spanish cinema. As an American director whose output has been significantly influenced by European art and genre cinema, Yuzna sees the Fantastic Factory as encompassing the business acumen of the LA approach to filmmaking, while maintaining the concept of creative integrity classically afforded to European auteurs.

In the interview, Yuzna explains how this appeal to two very different filmmaking traditions has affected the structure of recent releases such as Faust and Arachnid. Beyond an examination of his duel European and American influences, this chapter also considers themes of sexuality, perversion and immorality that permeate the director's work, while some of the issues surrounding female depictions within the horror genre are also discussed. The chapter concludes with Mendik providing an update of the Fantastic Factory's Spanish progress since the interview was first conducted.

While Brian Yuzna's trans-national images of horror and excess often court controversy, some critics would argue that they are tame in comparison with the cinema ofJorg Buttgereit. Although frequently criticised and censored for producing films that conflate bizarre sexual practices with extreme depictions of the dead body, Blake argues that works such as Nekromantik and Schramm contain an edgy, experimental feel that reveals Buttgereit's roots in avant-garde rather than horror filmmaking.

Central to her analysis, is the claim that while the directors gore epics remain outlandish and unsettling, they actually represent an extension of the more legitimate traditions of New German Cinema dominant in the s and s. As embodied by directors such as Werner Herzog and Rainer Werner Fassbinder, this film movement sought to bind documentary and experimental film techniques to an examination of the alienated and desolate protagonists inhabiting the post German landscape.

For Blake, it is these methods as well as the movements focus on the repression and sublimation of guilt and trauma relating to Getmany's Nazi past that reappear in a brutal form in the films of Jorg Buttgereit.

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From his early shorts combining punk and Nazi imagery, to later works like Nekromantik where a necrophile couple's activity frequently evokes concentration camp iconography , Blake argues that Buttgereit is not only digging up corpses, but the memories of a hideous past not fully acknowledged by the German nation. As a companion piece to the above article, the controversial Jorg Buttgereit reveals the extent to which his works have become a crucial index to past issues of national and political significance.

T h e interview explores a number of themes in the director's work, including his preoccupation with the mechanics of necrophilia, as well as his fascination with the cult of the serial 13 killer. What makes Perks' chapter particularly interesting is the way in which it reveals Buttgereit as reflecting and re-framing his thoughts around his own films on the basis of having read Linnie Blake's theoretical interventions.

Here, Perks manages to tease out the links between Buttgereit's own relationship with his father as embodied in his early art-house short Mein Papi and the later deviant male figures that populate his more gruesome works. The author's interventions also provoke some interesting comments on the links between art-house and exploitation tendencies in Buttgereit's work, while both the director and Rodenkirchen cast light on the ability of their morbid movies to reflect Germany's uneasy relationship with its own twentieth-century past.

Although some of the chapters have analysed the European trash text in terms of reception, philosophy, politics and history, the section on the European Federation of the Fantastic Film Festivals changes that. It puts exhibitors, distributors and the 'Eurotrash consuming' public at its centre. The Federation was formed to assist with the promotion and distribution of 'difficult' European texts that often transcend the traditional divisions of art-house and commercial productions.

Enclosed in this section is a unique insight into the forces that mould alternative European film production and distribution in ways that greatly differ from American and mainstream versions of the 'popular'. This section also explores the strategies that European funders and distributors use to ensure that trash and alternative cinema receive appropriate festival coverage. Writing from a practical point of view, Dirk Van Extergem's chapter provides a view behind the screens of one of Europe's hidden and sometimes forbidden treasures, the laid-back but highly innovative Belgian International Festival of Fantastic Film BIFFF.

Van Extergem sketches the unique position this festival occupies within the festival landscape, as a regionally subsidised event with far-reaching international connections. To give an example, the Festival was in and one of the first to link into to the new wave of extreme Asian cinema, inviting filmmakers like Kiyoshi Kurosawa and Takashi Miike when no one had really heard of them.

Earlier in its history, B I F F F had done the same for David Cronenberg who they invited in , and whose until-then unseen Videodrome cteated a furore , while also honouring long-time compagnons de route like Dario Argento, Brian Yuzna or Lloyd Kaufman. As Van Extergem explains, this combination of innovation and loyalty has given the festival a specific reputation as a cult event, attend by a cult audience which faithfully anticipates and celebrates it each year.

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The participatory aspect of the cult experience is probably unique in the world; among the recurrent rites ate massive shouting contests during screenings, and a 'human rafting' race in which film critics are put in a rubber life boat an carried from front to back and back over the heads of the audience who have the choice to carry or drop them. B I F F F is much more than just a cult event though, and as Van Extergem goes on to argue, its strengths and problems are not unlike those of other small-scale niche festivals around the world.

In his report, Riskala accounts for the growth of the Festival during the last fourteen years, while also linking the event's emergence to wider exhibition strategies in Finnish film culture. Not only has the Espoo Cine Festival established itself as the primary showcase for contemporary European cinema within Finland, but over 80 per cent of the films shown at the event are of European origin.

While Riskala is keen to acknowledge the increasing importance of non-Western fantasy cinema on Finnish film culture, his account also makes cleat the educational strategies central to the festival's wider critical acceptance. As with other exhibitors' accounts outlined in this section, Riskala outlines the importance of the European Federation of the Fantastic Film Festivals on the programming, retrospective and educational strands offered by the Espoo Cine organisers.

These 'fantastic forums' are held via a series of seminars and panel discussions on both aesthetic and production-based topics that relate to the genres under review. Some of the issues included in these discussion slots have included scriptwriting, sound editing and the role of special effects in fantastic film, with visiting directors, S F X masters and technicians attending to give their professional input. Beyond a consideration of the extent to which the Federation's policies have affected the growth and structure of this Finnish event, this chapter also discusses the Festival in the context of wider national debates around censorship particularly addressing state policies up until As Riskala notes, during this era of censorship, the Espoo Cine Festival remained the only place to see 'dark and violent celluloid creations' that Europe had to offer.

Although censorship issues have eased in recent years, he concludes that the Espoo Cine Festival has retained an unorthodox edge, where it is able to court cinematic creativity and controversy in equal measure. T h e final festival report compiled for this volume takes the form of an interview with Magnus Paulsson, the International Director of the Fantastisk Film Festival in Sweden.

In his article, 'The Fantastisk Film Festival: An Overview and Interview with Magnus Paulsson', Xavier Mendik discovers that the event sets a broad remit for the types of subject matter they will exhibit. These include films that lie 'between dream and reality, the ordinary and the extraordinary, the possible and the impossible. The aim of the Festival is to help stretch the limits of the imagination, and to reinforce the intrinsic value of imagination in films.

As with other festivals outlined in this volume, the focus of the Fantastisk Film Festival remains the large number of European films that it screens, though as with Tuomas Riskala of Espoo Cine, Paulsson also admits being increasingly drawn to the cult traditions that are emerging from Asia. Beyond a wide variety of quirky and off-beat productions that make it into the Festival's feature film competition, the event is marked by a progressive attitude towards documentary and fiction shorts, which are also primarily European based. As Paulsson explains, the short film can in many respects be seen as 'the perfect cinematic format' in its compression of creativity into a tightly constrained timeframe and the short selection proves to be ever popular with the Fantastisk Film Festival's audience, who vote for their own selection of favourites alongside a panel of judges on an annual basis.

As well as outlining the factors that affect the programming of both the feature and short competitions at the Festival, Paulsson also explains the educational events that accompany the event on a regular basis. These include lectures and seminars given in conjunction with the Film Studies Department at Lund University as well as art exhibitions and musical events, all 15 of which aim to elevate the status of the films under review.

While Paulsson believes that the inclusion of these activities confirm the Fantastisk Film Festival as a 'great meeting place for open minded people', they also serve to underscore the critical dimension to film viewing that holds sway at this and other key events within the European Federation of Fantastic Film Festivals. It still remains a matter of debate as to what extent alternative European film practice can be of any significant use in thinking about, or even intervening in, the world as it stands. Previous essays may have mentioned 'guerilla cinema' Mathijs , 'questioning memory' Blake, Kercher , or 'teenage disobedience' Fay and 'lawlessness' Barry , but can alternative European cinema really take a practical political position?

Halligan raises the question of what constitutes underground and exploitation cinema, the political use of it, its aesthetics or lack of it or its directness?

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