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Northumbria Research Link Northumbria Research Link Citation: Guarneri, Michael (2018) Sanguisughe Sexy: Vampires in Italian Genre Cinema between 1956 and 1975. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/39785/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html SANGUISUGHE SEXY: VAMPIRES IN ITALIAN GENRE CINEMA BETWEEN 1956 AND 1975 M GUARNERI PhD 2018 SANGUISUGHE SEXY: VAMPIRES IN ITALIAN GENRE CINEMA BETWEEN 1956 AND 1975 MICHAEL GUARNERI A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences September 2018 ABSTRACT Sanguisughe Sexy: Vampires in Italian Genre Cinema between 1956 and 1975 explores the ways in which 1956-1975 Italian vampire cinema functioned within its then-contemporary, and nationally-specific, industrial and socio-historical context. Taking as its subject thirty-five vampire movies made, distributed and exhibited during the peak years of genre film production in Italy, and certified to be of Italian nationality by the Italian government, this thesis asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian genre cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian genre cinema mean? Situated at the intersection of Italian film history, horror studies and cultural studies, the research shows that Italian cinematic vampires reflect their national zeitgeist from the ‘economic miracle’ of the late 1950s to the mid-1970s austerity (two decades of large political and socio-economic change in which gender politics were also in relative flux), thus demonstrating the importance of cultural specificities in understanding the metaphorical functions of vampire figures. Resultantly, a threefold contribution to knowledge is offered. Firstly, since scholars of vampire fiction have so far concentrated their efforts on Anglo- American literature and film, the thesis reveals, indicts and partially counterbalances the almost total neglect towards world-cinema vampires in the academia. Secondly, and more specifically, as the first sustained attempt to historicise and analyse the Italian vampire subgenre, which spanned several, more or less popular film genres across three decades, the research sheds light on so-called lower forms of cinematic culture, whose study has until very recently been largely ignored by Italian-cinema scholars. Thirdly, since the existing, English-language scholarly work on Italian cinema has approached horror and the other genres produced in post-war Italy mainly through the prism of psychoanalysis, the thesis seeks to introduce an alternative method by reworking Siegfried Kracauer’s reflectionist paradigm from the 1947 book From Caligari to Hitler: A Psychological History of the German Film. Here, psychoanalysis’ attempts at accessing the timeless, immutable dimension of universally-shared, unconscious fears via an exclusive focus on textual analysis are traded off for a historicist approach blending textual and contextual analysis in order to highlight the Italianness of 1956-1975 Italian vampire cinema, i.e. the interconnections between the filmic texts and their then-contemporary, national context of production and consumption. Ultimately, by accounting for the composite, polymorph monstrosity of Italian vampires in relation to the gender, socio-economic and political issues of the post-war Italian Republic, the thesis offers a template for future studies concerned with the cultural specificity of monsterdom. DECLARATION I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Any ethical clearance for the research presented in this thesis has been approved. Approval has been sought and granted by the Faculty Ethics Committee on 11 December 2015. I declare that the Word Count of this thesis is 84,431. Name: Michael Guarneri Signature: Date: 23 January 2019 ACKNOWLEDGEMENTS I wish to thank my family, my colleagues, my friends and the personnel of all the libraries/archives I visited during my data collection. Special thanks to Daniela Mor, Alvaro Guarneri, Russ Hunter, Peter Hutchings, Corrado Farina, Ernesto Gastaldi, Fabio Frizzi, Paolo Noto, Francesco Di Chiara, Michele Canosa, Jin Wang, John Hemy, Dario Stefanoni, Nikolas Weiss, Stefano Lalla and Tommaso Moscati. CONTENTS Chapter 1 - Introduction ……………………………………………………………………… 1 Notes to Chapter 1 …………………………………………………………………………... 35 Chapter 2 - Literature review ……………………………………………………………….. 36 Notes to Chapter 2 …………………………………………………………………………... 77 Chapter 3 - The industrial context …………………………………………………………... 78 Notes to Chapter 3 …………………………………………………………………………. 131 Chapter 4 - Gender readings .……………………………………………………………… 134 Notes to Chapter 4 …………………………………………………………………………. 188 Chapter 5 - Political and socio-economic readings ………..………………………………. 191 Notes to Chapter 5 …………………………………………………………………………. 248 Chapter 6 - Conclusions …………………………………………………………………… 250 Appedix A: Horror-themed fotoromanzo series (1961-1971) ……………………………... 261 Appendix B: Interview with Corrado Farina (summer 2015) ……………………………... 266 Appendix C: Interview with Fabio Frizzi (autumn 2016) ………………………………… 269 Appendix D: Interview with Ernesto Gastaldi (autumn 2018) …..……………….……… 273 Bibliography ……………………………………………………………………………….. 276 CHAPTER 1 - INTRODUCTION Answering Hutchings’s (2004) call for a culturally-specific monsterology, Sanguisughe Sexy: Vampires in Italian Genre Cinema between 1956 and 1975 takes as its subject thirty-five vampire movies made, distributed and exhibited during the peak years of genre film production in Italy, and certified to be of Italian nationality by governmental institutions such as the Italian State Cinema Bureau and the Italian Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the thesis investigates the connections between the thirty-five filmic texts and their then-contemporary industrial and socio-historical context by asking: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian genre cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian genre cinema mean? The aim is to show that Italian cinematic vampires reflect their national zeitgeist from the ‘economic miracle’ of the late 1950s to the mid-1970s austerity (two decades of large political and socio-economic change in which gender politics were also in relative flux), thus demonstrating the importance of cultural specificities in understanding the metaphorical functions of vampire figures. Sanguisughe Sexy: Vampires in Italian Genre Cinema between 1956 and 1975 offers an original contribution to knowledge in relation to both its subject matter and methodological approach. As for the subject matter, the contribution is twofold. Firstly, since scholars of vampire fiction have so far concentrated their efforts on dissecting Bram Stoker’s 1897 novel Dracula and its German and Anglo-American cinematic reworkings Nosferatu, eine Symphonie des Grauens / Nosferatu: A Symphony of Horror (F. W. Murnau, 1922), Dracula (Tod Browning, 1931) and Dracula (Terence Fisher, 1958), the research reveals, indicts and partially counterbalances the neglect towards world-cinema vampires. Secondly, and more specifically, the thesis represents the first sustained attempt to take seriously, historicise and 1 analyse the Italian vampire subgenre, which spanned several, more or less popular film genres across three decades. Indeed, until relatively recently, Italian-cinema academics have rarely shifted their attention away from auteurs such as Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni and Pier Paolo Pasolini (O’Leary & O’Rawe, 2011). And when scholars did take into consideration so-called lower forms of cinematic culture, they focused on applying auteurist readings to highly-successful genre filmmakers, especially those active in the commedia all’italiana (the tragedy-tinged ‘Italian- style comedy of manners’ immensely popular at the domestic box office and critically lauded and awarded abroad) and the spaghetti western (possibly because the Hollywood western had gained cultural legitimacy throughout the 1950s thanks to the work of French intellectuals like André Bazin and his Cahiers du cinéma disciples) (Brunetta,
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