Here are 100 books that Mario Bava fans have personally recommended if you like
Mario Bava.
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I'm a Senior Lecturer in Film and Television with a particular passion for the horror genre – the first film books I ever read were about Horror. I'm also a confirmed Italophile. I became fascinated by Mario Bava – and later, Italian horror more broadly – before I saw his films from accounts and images of them in books and magazines. The films weren’t easy to see before video, DVD/blu-ray or streaming, and so I was on a mission over time to track them all down. This is how cult reputations often develop – from obscurity to re-evaluation – and that was one of the things I wanted to address in my book.
This is one of the first books to introduce me to Horror films beyond Britain and the US – it might even have been where I first heard Mario Bava’s name alongside directors like Jess Franco and Jean Rollin.
It obviously looks at vampire films more broadly but introduced me to a body of films I wanted to know more about. It’s also a beautifully illustrated and intelligent book, essential reading for anyone interested in vampires.
I'm a Senior Lecturer in Film and Television with a particular passion for the horror genre – the first film books I ever read were about Horror. I'm also a confirmed Italophile. I became fascinated by Mario Bava – and later, Italian horror more broadly – before I saw his films from accounts and images of them in books and magazines. The films weren’t easy to see before video, DVD/blu-ray or streaming, and so I was on a mission over time to track them all down. This is how cult reputations often develop – from obscurity to re-evaluation – and that was one of the things I wanted to address in my book.
This is possibly the film book I flick through more than any other, usually to check a review.
Again, it covers the Horror genre broadly (year by year) but introduced me to a lot more European entries that I had never heard of, as well as horror films from Japan and other countries. I disagree with many of the critical opinions in the book but that doesn’t make them any less interesting.
This is the best single volume book on the horror film, the definitive reference work devoted to the subject. It contains entries on every movie even remotely connected to the genre, whether it is a 19-century silent, a grade "Z" schlocker, or an "art" film by the likes of Fritz Lang or Ingmar Bergman. Each entry contains a full list of credits and a descriptive review. Hardy writes about horror movies with such enthusiasm and intelligence that you feel you're getting the low down on the genre from a sincere and learned friend.
I'm a Senior Lecturer in Film and Television with a particular passion for the horror genre – the first film books I ever read were about Horror. I'm also a confirmed Italophile. I became fascinated by Mario Bava – and later, Italian horror more broadly – before I saw his films from accounts and images of them in books and magazines. The films weren’t easy to see before video, DVD/blu-ray or streaming, and so I was on a mission over time to track them all down. This is how cult reputations often develop – from obscurity to re-evaluation – and that was one of the things I wanted to address in my book.
An engagingly written, erudite, and intelligent critical history of horror films made in Europe from silent cinema to the modern day.
Rigby is one of the best scholars of the horror genre and gives closer critical attention to some of the classics produced in Italy, France, Spain, and Germany. You may not agree with all of his critical opinions, but his expertise is never in doubt.
Euro Gothic is the most extensive survey of Continental horror cinema ever published. From the Expressionist reveries of the Weimar Republic to the transgressive nightmares smuggled past the Franco regime, via surrealist Gallic fever-dreams and psychedelic shockers from Cinecitta, Jonathan Rigby applies his incisive scrutiny to the most important European horror films, ranging from the early years of the 20th century to the video revolution of the 1980s.
I'm a Senior Lecturer in Film and Television with a particular passion for the horror genre – the first film books I ever read were about Horror. I'm also a confirmed Italophile. I became fascinated by Mario Bava – and later, Italian horror more broadly – before I saw his films from accounts and images of them in books and magazines. The films weren’t easy to see before video, DVD/blu-ray or streaming, and so I was on a mission over time to track them all down. This is how cult reputations often develop – from obscurity to re-evaluation – and that was one of the things I wanted to address in my book.
Curti is an Italian film critic who also writes in English and brings a singular expertise to Italian genre cinema.
The giallo, the Italian murder mystery, isn’t technically Horror but often incorporates it in gory murder scenes. A lot has been written about the genre, but there has never been a more thorough account than this one, as close to definitive as one might get, and it will certainly broaden your understanding of the giallo as well as introducing you to films and TV shows you might not have heard of before.
Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films. Although most English speakers associate the term giallo with the violent and erotic thrillers popular in the 1960s and 1970s from directors like Mario Bava, Dario Argento, Lucio Fulci and others, the term encompasses a wide range of Italian media such as mysteries, thrillers and detective stories-even comedies and political pamphlets. As films like Blood and Black Lace (1964) and Deep Red (1975) have received international acclaim,…
In a life that has thus far led from reader and fan to writers’ assistant to author and journalist to television story writer to editor, these are the books that helped define my passions for storytelling worlds as well as the path of my career and informed me along the way.
David Gerrold had a lot to say about the experience of writing his first episode of television in The Trouble With Tribbles. But that wasn’t all the insight he had behind the scenes of theStar Trekseries. So he wrote another entire book about the show and the fandom that adopted it. Once again filled with wit and wisecracks, this book is another must-have for fans of the Original Series. At the time it came out, it was a book about a show that had only just begun to make its mark on popular culture. So the production and studio “machine” was not yet in control of what could and couldn’t be said about the property. Another raw and fascinating book by someone who was actually in the room where it happened. And one that made my entry into Star Trek fandom more understandable.
In The World of Star Trek, David Gerrold opens up dialogue on the people, places, and events that made Star Trek one of the most popular series ever. Gerrold discusses what was successful and what wasn't, offering personal interviews with the series' legendary stars and dissecting the trends that developed throughout the seasons.
The complete inside story of what happened behind the scenes of the Star Trek universe, from scriptwriters' memos to special effects and more, The World of Star Trek is the companion all Trekkies need for the most all-encompassing breakdown and analysis of Star Trek.
It all goes back to growing up in the 1970s, when PBS would show the same handful of classic foreign movies over and over—Bergman, Truffaut, Fellini. And there was the rest of TV, too, where I discovered John Ford, Orson Welles, Hitchcock, Billy Wilder, and much more. On the late late show, you could usually find Casablanca. I saw Kubrick’s 2001 a few years after it came out and was knocked out by the first mainstream movie that asked its viewers to wonder—to actively speculate in awestruck fashion about what was happening on screen. The movies have always been a passion for me. The movie screen is where we dream and float away and sink within ourselves all at once. As the critic David Thomson put it, “Not even heroin or the supernatural ever went this far.”
If I had to pick the two most basic, and most enthralling, essays for understanding American movies, they would be Warshow’s "The Westerner" and "The Gangster," both included in this book. Warshow, who died tragically young, also gives us the two finest pieces ever written about Chaplin, in which he argues that the flaws and stresses in Chaplin’s film art somehow make it more, not less, impressive. Add Warshow’s properly skeptical account of Soviet cinema—he is appreciative, but also aware of how Communist ideology distorted Soviet film—and you have the very best from a star among the New York intellectuals.
This collection of essays, which originally appeared as a book in 1962, is virtually the complete works of an editor of Commentary magazine who died, at age 37, in 1955. Long before the rise of Cultural Studies as an academic pursuit, in the pages of the best literary magazines of the day, Robert Warshow wrote analyses of the folklore of modern life that were as sensitive and penetrating as the writings of James Agee, George Orwell, and Walter Benjamin. Some of these essays--notably "The Westerner," "The Gangster as Tragic Hero," and the pieces on the New Yorker, Mad Magazine, Arthur…
My husband, Robert McLaughlin, and I taught at Illinois State University for over thirty years. Our fathers both served in World War II (one in the Army Air Forces and one in the Navy) but would never talk about it. That spurred our interest in the war and what it was like. One way to know about it was through the popular culture of the time, such as movies, plays, radio, and books. As we watched more and more movies and gave presentations on them (we’re English professors by trade), we realized how these movies still affect how we think about the war.
If you want to know what sort of pressures the Hollywood studies were under during World War II, from the OWI to the Production Code, then this book will help you sort it out.
The studios prior to the war were concerned about offending paying customers overseas, but once the war started, the Roosevelt administration wanted some oversight in how our enemies, our allies, and the Home Front were presented.
One of the most interesting parts is seeing how films about the Russians changed from humorous to supportive as they became our allies during the war and then back to untrustworthy as the war drew to a close.
Conflicting interests and conflicting attitudes toward the war characterized the uneasy relationship between Washington and Hollywood during World War II. There was deep disagreement within the film-making community as to the stance towards the war that should be taken by one of America's most lucrative industries. Hollywood Goes to War reveals the powerful role played by President Franklin D. Roosevelt's Office of War Information--staffed by some of America's most famous intellectuals including Elmer Davis, Robert Sherwood, and Archibald MacLeish--in shaping the films that were released during the war years. Ironically, it was the film industry's own self-censorship system, the Hays…
Environmental storytelling in comics is something that I’ve always admired and want to be better at. As a cartoonist I’m always thinking of better ways to tell visual stories, because it’s fun.
I don’t think I like Ghost World, but it belongs on this list. When I think of Clowes’ work I think of caricature, but the environments in Ghost World pull most of the storytelling weight. You can hear the hum of the fluorescents in the grocery store and the wind between buildings on an empty street.
1998 Ignatz Award Winner, Outstanding Graphic Novel: The inspiration for the feature film and one of the most acclaimed graphic novels ever.
Ghost World has become a cultural and generational touchstone, and continues to enthrall and inspire readers over a decade after its original release as a graphic novel. Originally serialized in the pages of the seminal comic book Eightball throughout the mid-1990s, this quasi-autobiographical story (the name of one of the protagonists is famously an anagram of the author's name) follows the adventures of two teenage girls, Enid and Becky, two best friends facing the prospect of growing up,…
I was lucky enough not only to get published in my thirties, I also got a film deal for those first two books. I was flown to Hollywood and it was all very grand. However, what they did to my stories in translating them into film scripts horrified me. And ruined them. And the films never got made. I started to look deeper into what ‘experts’ did, and it was awful. I became obsessed with how stories work, developed my own ‘knowledge gap’ theory, proved it through my Ph.D. research, and became a story consultant in the industry. Story theory has completely taken over my life and I love it!
This was the first story theory book I read and it was hugely influential on me, because it is probably the definitive work in terms of a formulaic, structural approach to story.
This book gave me a depth of knowledge of the traditional approach to story theory, but also a clear understanding of how people in the film industry are going about their work today. It is all wrong, in my opinion, but it is also the truth of what is going on.
It is wrong because a story does not begin with structure. A story begins in the mind, and a structure arrives later once the story is present. This book set me on my journey to find an alternative to structure.
Structure is Character. Characters are what they do. Story events impact the characters and the characters impact events. Actions and reactions create revelation and insight, opening the door to a meaningful emotional experience for the audience. Story is what elevates a film, a novel, a play, or teleplay, transforming a good work into a great one. Movie-making in particular is a collaborative endeavour - requiring great skill and talent by the entire cast, crew and creative team - but the screenwriter is the only original artist on a film. Everyone else - the actors, directors, cameramen, production designers, editors, special…
One reason I became a professor of humanities, teaching subjects like film, theater, and literature, was to share my enthusiasm for the great works of imagination which have inspired people for centuries. Stories shape our lives and pass on our most important values and beliefs to future generations. In my academic career, I have directed plays and have written two novels, but teaching film has been my major passion for the last several years.
This is another seminal text which introduced me to the critical theory of film viewers as “readers.”
Watching a movie is not a passive activity. The mind is very active, constantly shifting through the multiple channels of information, organizing the details into a coherent picture of the fictional world presented in the film.
Monaco examines several ways in which this creative-receptive process works in the viewer’s mind.
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media. Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an "Essential Library: One Hundred Books About Film…
