Explaining the term "Euro-Horor" and why Troy doesn't like the term "Euro-Trash" to describe such movies the history of the Italian murder mystery aka giallo and it's relationship to film noir, whodunits, and the German krimis written by Edgar Wallace psycho-sexual themes in the giallo the pulp vibe in Italian gialli the effect of WWII and fascism on Italian filmmakers like Dario Argento the politics of Italian horror movies (are they left-wing or right-wing?) Dario Argento's latest movie Occhiali Neri ( Dark Glasses) and it relevant social themes in the post-COVID era ![]() Similarities between horror and comedy as genres the art of the jump scare the label "elevated horror" and the problems with it John Carpenter's Halloween and the dark side of suburbia Carpenter's films in the context of the Vietnam War and Watergate the rebellious nature of Carpenter's filmography Why Troy doesn't like the "cheesy" description when it comes to older movies especially when said movies are deliberately infused with comical elements These films starred such actors as Christopher Lee and Peter Cushing and centered around classic monsters like The Mummy, Frankenstein's Monster, and Count Dracula ![]() ![]() How Troy got into horror through the Hammer Studios' horor movies of the late 1950s through to the 1970s. On this spooky season edition of Parallax Views, film historian Troy Howarth, author of such books as So Deadly, So Perverse: 50 Years of Italian Giallo Films, Assault on the System: The Nonconformist Cinema of John Carpenter, Splintered Visions: Lucio Fulci and His Films, Murder by Design: The Unsane Cinema of Dario Argento, The Haunted World of Mario Bava, and the new Make Them Die Slowly: The Kinetic Cinema of Umberto Lenzi, joins us for a wide-ranging conversation about horror movies.
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