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Italian films by genre

The list "Italian films by genre" has been viewed 1,550 times.
This list has 55 sub-lists and 13 members. See also Italian films, Films by country and genre, Films by country and genre
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Italian horror films
Italian horror films 15 L, 315 T
Italian drama films
Italian drama films 25 L, 2,004 T
Giallo films
Giallo films 1 L, 206 T
Italian spy films
Italian spy films 4 L, 114 T
Italian comedy films
Italian comedy films 31 L, 1,827 T
Italian crime films
Italian crime films 9 L, 230 T
Italian war films
Italian war films 6 L, 96 T
  • Commedia sexy all'italiana
    Commedia sexy all'italiana Italian film genre
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    The commedia sexy all'italiana (lit. "sex comedy Italian style"), also known as commedia scollacciata ("low-cut comedy") or commedia erotica all'italiana, is a subgenre of the Italian commedia all'italiana film genre.
  • Spaghetti Western
    Spaghetti Western Film genre
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    The Spaghetti Western is a broad subgenre of Western films produced in Europe. It emerged in the mid-1960s in the wake of Sergio Leone's filmmaking style and international box-office success. The term was used by foreign critics because most of these Westerns were produced and directed by Italians.
  • Cannibal film Film genre
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    Cannibal films, alternatively known as the cannibal genre or the cannibal boom, are a subgenre of exploitation films made predominantly by Italian filmmakers during the 1970s and 1980s. This subgenre is a collection of graphically violent movies that usually depict cannibalism by primitive, Stone Age natives deep within the Asian or South American rainforests. While cannibalism is the uniting feature of these films, the general emphasis focuses on various forms of shocking, realistic and graphic violence, typically including torture, rape and genuine cruelty to animals. This subject matter was often used as the main advertising draw of cannibal films in combination with exaggerated or sensational claims regarding the films' reputations.
  • Eurospy film
    Eurospy film Genre of spy films
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    Eurospy film, or Spaghetti spy film (when referring to Italian-produced films in the genre), is a genre of spy films produced in Europe, especially in Italy, France, and Spain, that either sincerely imitated or else parodied the British James Bond spy series feature films. The first wave of Eurospy films was released in 1964, two years after the first James Bond film, Dr. No, and in the same year as the premiere of what many consider to be the apotheosis of the Bond series, Goldfinger. For the most part, the Eurospy craze lasted until around 1967 or 1968. In Italy, where most of these films were produced, this trend replaced the declining sword-and-sandal genre.
  • Sword-and-sandal
    Sword-and-sandal Genre of largely Italian-made historical or biblical epics
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    Sword-and-sandal, also known as peplum (pl.: pepla), is a subgenre of largely Italian-made historical, mythological, or biblical epics mostly set in the Greco-Roman antiquity or the Middle Ages. These films attempted to emulate the big-budget Hollywood historical epics of the time, such as Samson and Delilah (1949), Quo Vadis (1951), The Robe (1953), The Ten Commandments (1956), Ben-Hur (1959), Spartacus (1960), and Cleopatra (1963). These films dominated the Italian film industry from 1958 to 1965, eventually being replaced in 1965 by spaghetti Western and Eurospy films.
  • Giallo
    Giallo Literature and film genre
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    In Italian cinema, giallo (pl.: gialli; from giallo, lit. 'yellow') is a genre of murder mystery fiction that often contains slasher, thriller, psychological horror, psychological thriller, sexploitation, and, less frequently, supernatural horror elements.
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    Filmic representations of women have developed in tandem with changing historical and socio-cultural influences. Italian neorealism was a movement that, through art and film, attempted to "[recover] the reality of Italy" for an Italian society that was disillusioned by the propaganda of fascism. Representations of women in this era were influenced heavily by the suffrage movement and changing socio-political awareness of gender rights. The tension of this transitional era created a spectrum of female representation in film, where female characters were written to acquiesce, or more commonly reject, the societal standards imposed on the women of the age. Italian neorealists, with their characteristic use of realism and thematic-driven narrative, used their medium to explore these established ideals of gender and produce a number of filmic representations of women.
  • Commedia all'italiana Italian film genre
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    Commedia all'italiana (i.e. "Comedy in the Italian way"; ) or Italian-style comedy is an Italian film genre. It is widely considered to have started with Mario Monicelli's I soliti ignoti (Big Deal on Madonna Street) in 1958 and derives its name from the title of Pietro Germi's Divorzio all'italiana (Divorce Italian Style, 1961).
  • Poliziotteschi
    Poliziotteschi Genre of Italian crime films
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    Poliziotteschi (sg.: poliziottesco) constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as polizieschi all'italiana, Italo-crime, spaghetti crime films, or simply Italian crime films. Influenced primarily by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films (among other influences), poliziotteschi films were made amidst an atmosphere of socio-political turmoil in Italy known as Years of Lead and amidst increasing Italian crime rates. The films generally featured graphic and brutal violence, organized crime, car chases, vigilantism, heists, gunfights, and corruption up to the highest levels. The protagonists were generally tough working class loners, willing to act outside a corrupt or overly bureaucratic system.
  • Italian neorealism
    Italian neorealism National film movement
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    Italian neorealism (Italian: Neorealismo), also known as the Golden Age of Italian Cinema, was a national film movement characterized by stories set amongst the poor and the working class. They are filmed on location, frequently with non-professional actors. They primarily address the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice and desperation. Italian Neorealist filmmakers used their films to tell stories that explored the contemporary daily life and struggles of Italians in the post-war period. Italian neorealist films have become explanatory discourse for future generations to understand the history of Italy during a specific period through the storytelling of social life in the context, reflecting the documentary and communicative nature of the film. Some people believe that neorealistic films evolved from Soviet montage films. But in reality, compared to Soviet filmmakers describing the people's opposition to class struggle through their films, neorealist films aim to showcase individuals' resistance to reality in a social environment.
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