Editing Cinema of Italy (section)

====Giallo (1960s–present)====
{{main|Giallo}}
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 | image1 = Mario Bava.jpg
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 | caption1 = [[Mario Bava]], referred to as the "Master of Italian Horror"<ref>{{cite book |last=Pezzotta |first= Alberto|date=1995 |title= Mario Bava |location=Milan |publisher= Il Castoro Cinema}}</ref> and the "Master of the Macabre".<ref>{{cite web|url=https://mubi.com/films/mario-bava-maestro-of-the-macabre|title=Mario Bava: Maestro of the Macabre (2000)–MUBI|access-date=2 December 2022}}</ref>
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 | caption2 = [[Dario Argento]], referred to as the "Master of the Thrill"<ref>{{Cite web|url=https://archivio.corriere.it/Archivio/interface/landing.html|title=Archivio Corriere della Sera|website=archivio.corriere.it}}</ref> and the "Master of Horror".<ref>{{Cite web|url=https://www.mymovies.it/film/1991/dario-argento-master-of-horror/|title=Dario Argento - Master of Horror|website=MYmovies.it}}</ref>
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During the 1960s and 1970s, Italian filmmakers [[Mario Bava]], [[Riccardo Freda]], [[Antonio Margheriti]] and [[Dario Argento]] developed ''[[giallo]]'' (plural ''gialli'', from [[:wiktionary:giallo|''giallo'']], Italian for "yellow") horror films that become classics and influenced the genre in other countries. Representative films include: ''[[The Girl Who Knew Too Much (1963 film)|The Girl Who Knew Too Much]]'' (1963), ''[[Castle of Blood]]'' (1964), ''[[The Bird with the Crystal Plumage]]'' (1970), ''[[Twitch of the Death Nerve]]'' (1971), ''[[Deep Red]]'' (1975) and ''[[Suspiria]]'' (1977).

''Giallo'' is a genre of [[mystery fiction]] and [[thriller (genre)|thrillers]] and often contains [[Slasher film|slasher]], [[crime fiction]], [[psychological thriller]], [[psychological horror]], [[Sexploitation film|sexploitation]], and, less frequently, [[supernatural|supernatural horror]] elements.<ref>{{cite web|work=WhatCulture |url=http://whatculture.com/film/watch-me-while-i-kill-top-20-italian-giallo-films.php |title=Watch Me While I Kill: Top 20 Italian Giallo Films |author=Simpson, Clare |date=4 February 2013 |url-status=dead |archive-url=https://web.archive.org/web/20151117220049/http://whatculture.com/film/watch-me-while-i-kill-top-20-italian-giallo-films.php |archive-date=17 November 2015}}</ref> ''Giallo'' developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined in commercial mainstream filmmaking over the next few decades, though examples continue to be produced. It was a predecessor to, and had significant influence on, the later American [[slasher film]] genre.<ref>{{cite book|first=J.A.|last=Kerswell|title=The Slasher Movie Book|year=2012 |publisher=Chicago Review Press|isbn=978-1556520105|pages=46–49}}</ref>

''Giallo'' usually blends the atmosphere and suspense of [[thriller fiction]] with elements of [[horror fiction]] (such as slasher violence) and [[eroticism]] (similar to the French ''[[fantastique]]'' genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. Most critics agree that the ''giallo'' represents a distinct category with unique features,<ref>{{cite web|url=https://filmschoolrejects.com/10-giallo-films-for-beginners/|title=10 Giallo Films for Beginners|date=13 October 2018|website=Film School Rejects|access-date=27 December 2020}}</ref> but there is some disagreement on what exactly defines a ''giallo'' film.<ref name="koven">{{cite book |last=Koven |first=Mikel |date=2 October 2006 |title= La Dolce Morte: Vernacular Cinema and the Italian Giallo Film |publisher=[[Scarecrow Press]] |isbn=0810858703 |page=66}}</ref>
[[File:Ragazza1963Bava01.png|thumb|''[[The Girl Who Knew Too Much (1963 film)|The Girl Who Knew Too Much]]'' by [[Mario Bava]] (1963), considered by most critics to be the first ''[[giallo]]'' film.<ref>{{cite web|url=https://nerocafe.net/profondo-nero/la-ragazza-che-sapeva-troppo/|title=La ragazza che sapeva troppo|date=3 February 2012 |access-date=2 December 2022|language=it}}</ref>]]

''Giallo'' films are generally characterized as gruesome murder-mystery thrillers that combine the suspense elements of [[detective fiction]] with scenes of shocking [[horror fiction|horror]], featuring excessive bloodletting, stylish camerawork and often jarring musical arrangements. The [[Archetype|archetypal]] ''giallo'' plot involves a mysterious, black-gloved psychopathic killer who stalks and butchers a series of beautiful women.<ref name="How To Spot">{{cite web|url=https://www.telegraph.co.uk/culture/film/10377468/Violence-mystery-and-magic-how-to-spot-a-giallo-movie.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/film/10377468/Violence-mystery-and-magic-how-to-spot-a-giallo-movie.html |archive-date=12 January 2022 |url-access=subscription |url-status=live|title=Violence, mystery and magic: how to spot a giallo movie|publisher=The Tekegraph|author=Anne Billson|date=14 October 2013|access-date=29 August 2014}}{{cbignore}}</ref> While most ''gialli'' involve a human killer, some also feature a [[supernatural]] element.<ref name="Abrams">{{cite web |last=Abrams |first=Jon |title=GIALLO WEEK! YOUR INTRODUCTION TO GIALLO FEVER! |url=http://dailygrindhouse.com/2015/03/16/giallo-week-introduction-giallo-fever/ |date=16 March 2015 |website=The Daily Grindhouse |access-date=30 March 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150324055034/http://dailygrindhouse.com/2015/03/16/giallo-week-introduction-giallo-fever/ |archive-date=24 March 2015 }}</ref>

The typical ''giallo'' [[protagonist]] is an outsider of some type, often a traveller, [[tourist]], outcast, or even an alienated or disgraced [[private investigator]], and frequently a young woman, often a young woman who is lonely or alone in a strange or foreign situation or environment (''gialli'' rarely or less frequently feature [[law enforcement officer]]s as chief protagonists).<ref name="Abrams"/><ref name="Needham">{{cite web |url=http://www.kinoeye.org/02/11/needham11.php |title=Playing with Genre: An Introduction to the Italian Giallo |last=Needham |first=Gary |website=Kinoeye |access-date= 3 September 2014}}</ref>

The protagonists are generally or often unconnected to the murders before they begin and are drawn to help find the killer through their role as [[witness]]es to one of the murders.<ref name="Abrams"/> The mystery is the identity of the killer, who is often revealed in the [[Climax (narrative)|climax]] to be another key character, who conceals his or her identity with a [[disguise]] (usually some combination of hat, mask, sunglasses, gloves, and trench coat).<ref name="koven 4">{{cite book |last=Koven |first =Mikel |date=2 October 2006  |title= La Dolce Morte: Vernacular Cinema and the Italian Giallo Film|publisher=[[Scarecrow Press]] |isbn=0810858703 |page=4}}</ref> Thus, the literary [[whodunit]] element of the ''giallo'' novels is retained, while being filtered through horror genre elements and Italy's long-standing tradition of [[opera]] and staged [[Grand Guignol|grand guignol]] drama. The structure of ''giallo'' films is also sometimes reminiscent of the so-called "[[weird menace]]" pulp magazine horror mystery genre alongside [[Edgar Allan Poe]] and [[Agatha Christie]].<ref>{{cite web|url=https://unwinnable.com/2018/12/07/torso-wizard-of-gore/|title=Of Giallo and Gore: A Review &#124; Unwinnable|website=unwinnable.com|date=7 December 2018|access-date=27 December 2020}}</ref>

<gallery widths="200px" heights="165px">
File:Sei donne per l'assassino.png|A scene from ''[[Blood and Black Lace]]'' by [[Mario Bava]] (1964)
File:Profondo rosso (1975) Giuliana Calandra (2).png|[[Giuliana Calandra]] in a famous scene from ''[[Deep Red]]'' by [[Dario Argento]] (1975)
</gallery>