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Giallo

menacing video game character set against a red backdrop
Posted on August 16, 2022

Bloodwash Review: A Giallo-Inspired Horror Video Game Awash with Gore

Guest Post

Bloodwash is the latest video game to be published by Torture Star Video, a publishing label launched by Puppet Combo, the developer behind notable instances of playable nightmare fuel such as Babysitter Bloodbath (2013), Nun Massacre (2018), and Murder House (2020). Like these games, Bloodwash has a distinctive low-poly style reminiscent of video games from the PS1 era, as well as a story straight out of an old school slasher film.

As pointed out in publicity material for the game, Bloodwash is “giallo-inspired.” In a broad sense, the Italian term Giallo “has become synonymous … with mysteries and thrillers” (Koven, 2013: 204). More specifically, the term has come to describe “the Italian style of psycho-killer movies, which dominated much of Italian vernacular film-making in the 1970s, and, in many respects, were the precursors to the ‘slasher’ films from Canada and the US in the late 1970s and early 1980s” (ibid.) Tropes of Giallo cinema include stylised murder scenes, mysterious killers, and tormented women – three components that feature prominently in the video game, Bloodwash. Read more

Posted on March 11, 2018

Horror Visits Little House on the Prairie

Elizabeth Erwin

Ask anyone who grew up watching Little House on the Prairie what is the most traumatizing image they recollect from the show’s run and you’re likely to get a surprisingly wide array of answers. From Caroline almost taking a knife to her leg while in the throes of a fevered infection to Alice screaming and trying in vain to shatter glass as she and baby Adam burned in a fire, the show contains more than a few moments that call into question its cultural legacy of family friendliness. These moments aside, however, the show never delved into explicitly horror territory until its seventh season when a two-part episode entitled “Sylvia” leveraged the genre’s tropes to completely rewrite audience expectation. Read more

Posted on February 16, 2016

Finding Feminism in the Women of Giallo

Guest Post

I live for a good giallo or, truth be told, a really bad one. You see, even the most mediocre giallo holds something special, be it the location (especially spooky, foggy, perfect Venice), the over-the-top murders, the kick-ass soundtracks, or the unmasking of the killer (hint: it’s always the priest). As Women in Horror Month kicked off, I kept thinking about my obsession with gialli and what made them so special to me. It finally dawned on me that, despite their flaws, these films are incredibly feminist. The women in gialli are unlike anything seen in American slashers or thrillers during the 1970’s. For me, this is one of the reasons why these films are still refreshing and captivating over forty years later.

Giallo, the Italian word for ‘yellow,’ has come to encompass the Italian slasher film genre as a whole. In post-fascist Italy, paperback mystery novels were given yellow covers, and it was the content of these dime-store novels that served as the plots for many giallo films. This subgenre usually features a black-leather-gloved killer, armed with a knife; bold colors (the genre’s giants Mario Bava and Argento heavily favor blood-red); and ample amounts of nudity and sex. While Italians certainly cornered the market on gialli, there are some solid British and American contributions to the genre such as Peeping Tom (1960), Frenzy (1972), Klute (1971), and The Eyes of Laura Mars (1978).

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