{"product_id":"giallo","title":"Giallo!","description":"\u003cp\u003e\u003cb\u003eTraces the \u003c\/b\u003e\u003cb\u003e\u003ci\u003egiallo \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003emystery\/horror genre from its genesis in Italian cinema of the 1960s and 1970s to its contemporary place in the global cult-film canon.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eItalian \u003ci\u003egiallo\u003c\/i\u003e films have a peculiar allure. Taking their name from the Italian for \"yellow\"- reflecting the covers of pulp crime novels-these genre movies were principally produced between 1960 and the late 1970s. These cinematic hybrids of crime, horror, and detection are characterized by elaborate set-piece murders, lurid aesthetics, and experimental soundtracks. Using critical frameworks drawn from genre theory, reception studies, and cultural studies, \u003ci\u003eGiallo!\u003c\/i\u003e traces this historically marginalized genre's journey from Italian cinemas to the global cult-film canon. Through close textual analysis of films including \u003ci\u003eThe Girl Who Knew Too Much\u003c\/i\u003e (1963), \u003ci\u003eBlood and Black Lace\u003c\/i\u003e (1964), \u003ci\u003eThe Bird with the Crystal Plumage\u003c\/i\u003e (1970), \u003ci\u003eThe Black Belly of the Tarantula\u003c\/i\u003e (1971), and \u003ci\u003eThe Case of the Bloody Iris\u003c\/i\u003e (1972), Alexia Kannas considers the rendering of urban space in the giallo and how it expresses a complex and unsettling critique of late modernity.\u003c\/p\u003e","brand":"State University of New York Press","offers":[{"title":"Default Title","offer_id":53530571407727,"sku":"9781438480329","price":256.63,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0921\/9384\/9711\/files\/1438480326.jpg?v=1790363066","url":"https:\/\/internacional.umlivro.com.br\/products\/giallo","provider":"UmLivro Internacional","version":"1.0","type":"link"}