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FORT VERENA, May 24, 1915, 04:00 Trilogy of the Great War
These memories, handwritten by Elmo Cermaria (Nonno Peppe) for his grandson Checco (Francesco Nicolini), tell of when, as a young man of 20, he found himself hurled into the inferno of the First World War. In those days, you could cry your heart out for a bread roll denied, then miraculously regained thanks to the compassion of a German soldier, “the hated enemy”. These recollections are terse, without a trace of rhetoric and devoid of recriminations. Nonno Peppe tells the facts just as he experienced them first hand, without expressing any condemnation of those responsible for them, even though an awareness of the large-scale massacre he witnessed transpires from his account. When Nonno Peppe delivered the manuscript to his grandson on his wedding day, he asked him to make a promise: “Let the President of the Republic know what we did for Italy.” A hundred years ago, whole generations of young Italian men were stripped of human honor and dignity. Only a few of these young men would live on and become our grandfathers; and only a few of us would be fortunate enough to become “grandchildren of the Great War” and bear witness to their ordeal.
Mountebanks and Medicasters
Italian medical charlatans, wandering quacks who traded in remedies, accompanied real medicine like a dark shadow during its slow progress. Over the centuries, these cunning individuals infuriated orthodox physicians with their ability to capture audiences in village squares. While licensed physicians imperiously ordered torrential enemas and pitiless bloodletting, charlatans sold cheap remedies accompanied by consoling promises. Not merely merchants committed to swindling the gullible, the charlatans often disguised a form of opposition to an arrogant new science. New and courageous ideas were hidden beneath their exaggerated posturing. This work recounts the history and adventures of ingen...
Italian Gothic Horror Films, 1970-1979
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. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author 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. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
Bernini's Michelangelo
A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598–1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti—the master of the previous age. Bernini’s Michelangelo is the first comprehensive examination of Bernini’s persistent and wide-ranging imitation of Michelangelo’s canon (his art and its rules). Prevailing accounts submit that Michelangelo’s pervasive, yet controversial, example was overcome during Bernini’s time, when it was rejected as an advantageous m...
Italian Crime Filmography, 1968-1980
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
The Law Reports
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