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So Deadly, So Perverse: 50 Years of Italian Giallo FilmsBy Troy Howarth

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Beginning with the release of Mario Bava's THE GIRL WHO KNEW TOO MUCH in 1963, Italian filmmakers developed and perfected their own peculiar brand of mystery-thriller known as the giallo. Named after the yellow (giallo in Italian) covers of the murder mysteries published by Mondadori, the giallo is awash in fetishistic imagery. For many fans, these films—popularized in the works by writer-director Dario Argento, whose name is synonymous with the genre, thanks to such films as THE BIRD WITH THE CRYSTAL PLUMAGE and DEEP RED—focus on stylized images of violent death: killers dressed in black stalking glamorous-looking victims through baroque architecture, literally painting the walls red with their blood. This is only one aspect of the giallo, however. With their groovy soundtracks by legendary composers like Ennio Morricone and Stelvio Cipriani and glamorous damsels-in-distress like Edwige Fenech, Rosalba Neri and Asia Argento, these films offer a heady mixture of sex, horror and suspense; at their best, they took excess to a hypnotic level. Troy Howarth, the author of THE HAUNTED WORLD OF MARIO BAVA and the co-author of the up-coming THE TOME OF TERROR series, examines the genre from its inception through its inevitable decline. Covering everything from popular fan favorites by the likes of Mario Bava, Lucio Fulci and Dario Argento to lesser-known gems by Cesare Canevari, Massimo Dallamano and Paolo Cavara as well as the worst of the worst by the least inspired of hacks, SO DEADLY, SO PERVERSE provides an in-depth examination of a genre that has too often been marginalized in other studies of the horror film and the thriller. In addition to reviews of every giallo made between 1963 and 2013, this two-part study of the giallo—with volume two (covering 1974 onwards) coming later in the year—is also lavishly illustrated with rare and colorful stills and poster art.

• Sales Rank: #524674 in Books
• Published on: 2015-01-30
• Original language: English
• Dimensions: 11.00" h x .55" w x 8.50" l,
• Binding: Paperback
• 234 pages

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In this challenging and enlightening treatment, Brueggemann traces the lines from the radical vision of Moses to the solidification of royal power in Solomon to the prophetic critique of that power with a new vision of freedom in the prophets. Here he traces the broad sweep from Exodus to Kings to Jeremiah to Jesus. He highlights that the prophetic vision and not only embraces the pain of the people but creates an energy and amazement based on the new thing that God is doing. In this new edition, Brueggemann has completely revised the text, updated the notes, and added a new preface.

• Sales Rank: #31149 in Books
• Color: Grey
• Published on: 2001-06-01
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .40" w x 5.50" l, .55 pounds
• Binding: Paperback
• 151 pages

About the Author
Walter Brueggemann is Professor Emeritus at Columbia Theological Seminary. He is an ordained minister in the United Church of Christ and was a past president of the Society of Biblical Literature. His most recent books include Disruptive Grace: Reflections on God, Scripture, and the Church and Journey to the Common Good.

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• Sales Rank: #3687134 in Books
• Published on: 1900
• Binding: Paperback

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About the Author

John Wilkinson was a Canon of St George's Cathedral in Jerusalem and the Director of the British School of Archaeology there.

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Product details

Paperback: 240 pages

Publisher: Liverpool University Press; 3rd edition (February 1, 1999)

Language: English

ISBN-10: 0856687103

ISBN-13: 978-0856687105

Product Dimensions:

8.2 x 0.6 x 5.8 inches

Shipping Weight: 13.4 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#398,351 in Books (See Top 100 in Books)

This book not only provides a translation of the surviving reports by Egeria of her travels to her fellow nuns at home in Spain but contains a commentary on the context of her travels, other contempraneous sources and an analysis of her descriptions both of the lands visited and on her accounts of contemporaneous liturgy. Egeria travelled to the Holy Land and Egypt from about 381 to 384 AD. Her accounts are a welcome antidote to modern "scholarship" suggesting that the New Testament statements of fact and the location of events are somehow recent inventions. There are also surprises. Egeria relates as if it were commonplace that she was escorted at times by detachments of the Roman Army. She also describes a liturgy of mind=blowing length and complexity but which still resonates with the modern Catholic litiurgy.

An excellent book, if you wish to understand pilgrims to the Holy Land in the 4th C. I highly recommend it,

During my research on the Christian sites of the Holy Land, the name "Egeria" surfaced. I located this book on Amazon and when it arrived, I found it to have a wealth of information. This pilgrim kept a detailed diary which she sent to her "Sisters." She is very specific about the sites and liturgies of the Holy Land. Any one looking to learn more about the spiritual devotion in the Holy Land will enjoy this book. Since her diaries were lost, this partial account is all that exists and it is fascinating to read. Further research links her to St. Sylvia.

John Wilkinson's translation of "Egeria's Travels" provides a thorough account of Egeria's 4th century pilgrimage to the Holy Land. The travelogue is addressed to Egeria's contemporaries, likely nuns or learned women, who can follow along with the pilgrimage in spirit. Accordingly, Egeria documents the physical and spiritual aspects of her pilgrimage, noting routes and staging posts, but also liturgical details. A close inspection of "Egeria's Travels" reveals how her sense of the land is shaped by Biblical history, and how the Bible serves as a marker of authenticity for the sites that she visits. Egeria's tendency to link scripture with place is evidenced in her visit to Capernaum, which she describes as "[where] the house of the prince of the apostles has been made into a church, with its original walls still standing. It is where the Lord healed the paralytic" (97). Because the original walls are still standing, and these walls are mentioned in the Bible, Egeria is satisfied in the authenticity of the site. Egeria's linkage between scripture and place also extends to geographical sites. For instance, after describing Capernaum Egeria writes, "And this is the field where the Lord fed the people with the five loaves and the two fishes" (97-98). In this way, Egeria makes geographical features become distinct and infused with meaning, as the land is shaped by her sense of the multiplication miracle. The original landscape is now seen through an emotional lens because of this Biblical connection. All in all, Egeria's writings offer a detailed travelogue, but more importantly show how the pilgrim's sense of the land is formed by Biblical history. In studying pilgrimage, we must realize that sites of pilgrimage have been selectively identified and infused with meaning based on historical accounts, the marker, and the pilgrim's belief in the marker.

This is an absolutely fascinating book! I'm actually in the process of re-reading it! The amateur archaeologist/theologist in me, is jumping for joy! Nowhere in literature do we get a 1st hand pilgrims account, of the typography of the Holy Land, architectural description, and the liturgical detail, of the early Christian church. This book is a true treasure for all inquisitive and faithful seekers, wanting a realistic peek into the Holy Land, in A.D. 381.

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