Supranational Horrors: Italian and Spanish Horror Cinema since 1968 moves beyond national cinema discourse in considering the horror production of two Southern European countries, Italy and Spain. Rui M. Trindade Oliveiraexamines cultural elements that films from these nations share, arguing that a fuller understanding of European horror is possible when we acknowledge the output of Italy and Spain as being interconnected, as possessing a supranational, common identity: "Italian-Spanishness."
Rui M. Trindade Oliveira holds a PhD in film studies from the University of Northumbria.
In Supranational Horrors: Italian and Spanish Horror Cinema since 1968, Rui Oliveira provides valuable insight and offers first-rate analysis of a genre long shared between two nations with cultural similarities. Oliveira skillfully carves out a niche of Mediterranean horror and in doing so has created a fine addition to the body of existing scholarship.--Nicholas G. Schlegel, Alfred University and author of Sex, Sadism, Spain, and Cinema: The Spanish Horror Film Whether as a fan or a scholar, you need to know your Italian giallos from your Spanish giallos, the significant role of home video technology in discussions of Italian and Spanish horror film traditions, and, above all, the distinctive flavour of 'Italian-Spanishness' horror in the broader context of European horror cinema. Supranational Horrors: Italian and Spanish Horror Cinema since 1968 covers all these areas and much more. Culturally sensitive and historically informed, this volume provides a comprehensive mapping of the confluences, interconnections and differences between Italian and Spanish horror films through close readings of key representative films of the last fifty years.--Antonio Lazaro-Reboll, University of Kent With Supranational Horrors: Italian and Spanish Horror Cinema since 1968, Rui Oliveira offers a distinctive contribution to the understanding of horror films made in those countries during key eras of production. By acknowledging the importance of co-production, he is able to offer an intriguing model, that of the Italian-Spanish supernational horror film, that offers a fresh way of approaching this body of work. Always conscious of their specificity, Oliveira's approach deftly moves away from the idea of national cinema to explore the industrial, cultural, and aesthetic intersections that link Spanish and Italian horror productions.--Andy Willis, University of Salford
