Whilst one of my
initial reasons behind writing this dissertation might have been to prove that
the traditional giallo can
still be relevant today to an international audience hasn’t quite developed
into the answer I was looking for, I still feel that with the evidence
discussed with Amer (2009)
and it’s homage to the giallo,
there is certainly enough within the genre to be adapted to the modern day
audience and something that can easily feel right at home in the art house
cinemas. Its stylistic visuals and almost complete neglect for dialogue could
really provide a starting point for a new era of art-house cinema, maybe not a
resurrection of the giallo but
certainly a new wave of genre filmmaking that is inspired by the genre itself.
Though the main
question that I had posed for my research was to answer can ‘high art’ exist
within ‘low-art’ and I think that the giallo genre
has shown plenty enough in it’s rich if not short lived history to provide
enough artistic qualities, especially with the marvelous and thought provoking
use of colour in film and not forgetting the symbolism with the Italian traumas
caused by Mussolini’s fascist reign. With the links to Mussolini and giallo dating back to the very
first giallo; Ossessione (1942) which managed to
get released under the nose of his fascist reign, there really should be a
clear recognition not just from film academics from the horror aficionados
that Ossessione (1942) was
the first giallo film as
well as being the first Itailan Neo-Realist film; no matter what the
genre, whether it be high brow art or exploitation each has the equal right to
their history and should be embraced and not ignored for the fear of being
tarnished just because a genre can be linked with another genre that doesn’t
fit within it’s artistic value.
There has always
been a gap between High Art and Low Art; it’s something that most people would
argue that has no connection, the art house/high art movement is completely
separate from the low art/exploitation form and the Hollywood movement, but I
feel that through my research and readings into the giallo, I believe that the genre itself manages to bridge the gap
between high art and low art; whilst the films of the genres didn’t play in the
art houses and first run theatres at the time and appealed more to the
grindhouse cinema and drive-in audiences, the films themselves show great uses
of colour in film and symbolize themes and atmosphere through their visceral
lighting techniques and style, and not forgetting the strong link between
the gialli killers and
Mussolini, there is plenty of contextual theory to be read into and it is this
quality that I believe can build bridges between High Art and Low Art; which
could allow for a better appreciation of the art of film as a whole.
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