Demonstrates how and why the transnational figure of the vampire was appropriated by Italian genre filmmakers between 1956 and 1975.

Positioning itself at the intersection of Italian film history, horror studies and cultural studies, this fascinating book asks why, and how, was the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? The book outlines both the 1945-85 industrial context of Italian cinema and the political, economic and sociocultural context of the Italian Republic, from post-war reconstruction to the austerity of the mid-1970s. Using case studies of films by directors such as Mario Bava and Riccardo Freda, it also delves into lesser-known gems of Italian psychotronic cinema from the 1960s and 1970s, like L'amante del vampiro (The Vampire and the Ballerina) and Riti, magie nere e segrete orge nel Trecento . . . (The Reincarnation of Isabel). With original research into hitherto unpublished film production data, censorship data, original screenplays, trade papers, film magazines and vampire-themed paraliterature, the book strongly argues for the cultural legitimacy of Italian film genres like horror, adventure, comedy and erotica, whose study has so far been neglected in favour of the Italian auteur cinema of the 1940s neorealists and their later followers.

While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror's geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.

From Riccardo Freda's 'I Vampire' to Dario Argento's 'Nonhosonno', this book celebrates the Italian horror film genre. It features the directors who have made notable films in this style, as well as their influences, careers, commentaries and notes on plot and production details.

About 2,500 genre films are entered under more than 100 subject headings, ranging from abominable snowmen through dreamkillers, rats, and time travel, to zombies, with a brief essay on each topic: development, highlights, and trends. Each film entry shows year of release, distribution company, country of origin, director, producer, screenwriter, cinematographer, cast credits, plot synopsis and critical commentary.

The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.