May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus. Content that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.
Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme.
Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site.
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Instead of the fast, distracting web, we prefer a slow, careful one. Instead of information hastily received, we prefer knowledge calmly absorbed. This is why we love to publish books and encourage you to put down your device, grab a cup of coffee, and enjoy a high-quality read the old-fashioned way. Divisare Books are not available at bookstores or elsewhere. The only way to get your issue is to buy it here. All of our issues are extremely limited editions. Lord knows we tried. But after more than 20 years spent in the transient, fleeting and contingent world of the internet no amount of pivoting or faking could squeeze a proudly independent online magazine into a conventional printed periodical.
But if you're looking for something more fluid and flexible, you may be open and inquiring enough to appreciate the work we are doing. DIVISARE BOOKS is a high-quality, independent editorial project, a modular publication dedicated to architecture documents, a constantly growing archipelago of monographic issues each tackling a different topic: drawings collections, photographic surveys, visual essays, short writings, projects, etc. In the Italian language, giallo is a broad term that can be translated as "crime novel" including any literary genre involving crime and mystery, with all its sub-genres such as crime fiction, detective story, murder mystery or thriller-horror.
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In the movie context, for Italian audiences giallo has come to refer to any kind of murder mystery or horror thriller, regardless of its origin. English-speaking audiences have used the term to refer specifically to the type of Italian-produced thriller-horror films known to Italian audiences as giallo all'italiana. The film subgenre began as literal adaptations of the giallo mystery novels. Directors soon began taking advantage of modern cinematic techniques to create a unique genre that retained the mystery and crime fiction elements of giallo novels but veered more closely into the psychological thriller or psychological horror genres.
Many of the typical characteristics of these films were incorporated into the later American slasher genre. Critics disagree on characterization of a giallo film. By its very nature, the giallo challenges our assumptions about how non-Hollywood films should be classified, going beyond the sort of Anglo-American taxonomic imaginary that "fixes" genre both in film criticism and the film industry in order to designate something specific.
These distinct "thematic and stylistic tropes" constitute a loose definition of the genre which is broadly consistent, though various critics have proposed slightly differing characteristic details which consequently creates some confusion over which films can be considered gialli. Although they often involve crime and detective work, gialli should not be confused with the other popular Italian crime genre of the s, the poliziotteschi , which includes more action -oriented films about violent law enforcement officers largely influenced by gritty s American films such as Dirty Harry , Death Wish , The Godfather , Serpico , and The French Connection.
Directors and stars often moved between both genres and some films could be considered under either banner, such as Massimo Dallamano 's film La polizia chiede aiuto What Have They Done to Your Daughters? Giallo films are generally characterized as gruesome murder-mystery thrillers, that combine the suspense elements of detective fiction with scenes of shocking horror, featuring excessive bloodletting, stylish camerawork and often jarring musical arrangements.
The archetypal giallo plot involves a mysterious, black-gloved psychopathic killer who stalks and butchers a series of beautiful women. The typical giallo protagonist is an outsider of some type, often a traveler or tourist , and usually a young woman gialli rarely feature law enforcement officers as chief protagonists, which would be more characteristic of the poliziotteschi genre. It is important to note that while most gialli feature elements of this basic narrative structure , not all do.
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Some films for example Mario Bava 's Hatchet for the Honeymoon , which features the killer as the protagonist may radically alter the traditional structure or abandon it altogether and still be considered gialli due to stylistic or thematic tropes, rather than narrative ones. While most have a nominal mystery structure, they may feature bizarre or seemingly nonsensical plot elements and a general disregard for realism in acting , dialogue and character motivation. Black gloves, sexual ambiguity, and psychoanalytic trauma may be at the heart of each film, but the genre itself is without consistent narrative form.
While a shadowy killer and mystery narrative are common to most gialli, the most consistent and notable shared trope in the giallo tradition is the focus on grisly death sequences. These scenes frequently evoke some degree of voyeurism , sometimes going so far as to present the murder from the first-person perspective of the killer, with the black-gloved hand holding a knife viewed from the killer's point of view.
Gialli are noted for psychological themes of madness, alienation, sexuality and paranoia. This ambiguity of memory and perception can escalate to delusion , hallucination and delirious paranoia. Since gialli protagonists are typically female, this can lead to what writer Gary Needham calls, " Writer Mikel J. Koven posits that gialli reflect an ambivalence over the social upheaval modernity brought to Italian culture in the s. Gialli have been noted for their strong cinematic technique, with critics praising their editing , production design , music and visual style even in the marked absence of other facets usually associated with critical admiration as gialli frequently lack characterization , believable dialogue, realistic performances and logical coherence in the narrative.
Gialli are frequently associated with strong technical cinematography and stylish visuals. Critic Maitland McDonagh describes the visuals of Profondo rosso Deep Red as, "vivid colors and bizarre camera angles, dizzying pans and flamboyant tracking shots, disorienting framing and composition, fetishistic close-ups of quivering eyes and weird objects knives, dolls, marbles, braided scraps of wool Directors Dario Argento and Mario Bava are particularly known for their impressionistic imagery and use of lurid colors, though other giallo directors notably Lucio Fulci employed more sedate, realistic styles as well.
Music has been cited as a key to the genre's unique character;  critic Maitland McDonagh describes Profondo rosso Deep Red as an "overwhelming visceral experience The Psychic. Gialli often feature lurid or baroque titles, frequently employing animal references or the use of numbers.
Study in Scarlet - Conan Doyle
The first giallo novel to be adapted for film was James M. Condemned by the fascist government, Obsessione was eventually hailed as a landmark of neo-realist cinema, but it did not provoke any further giallo adaptations for almost 20 years. In addition to the literary giallo tradition, early gialli were also influenced by the German " krimi " films of the early s.
The Swedish director Arne Mattsson has also been pointed to as a possible influence, in particular his film Mannequin in Red. Though the film shares stylistic and narrative similarities with later giallo films particularly its use of color and its multiple murder plot , there is no direct evidence that subsequent Italian directors had seen it.
Though shot in black and white and lacking the lurid violence and sexuality which would define later gialli, the film has been credited with establishing the essential structure of the genre: in it, a young American tourist in Rome witnesses a murder, finds her testimony dismissed by the authorities, and must attempt to uncover the killer's identity herself. Bava drew on the krimi tradition as well as the Hitchcockian style referenced in the title, and the film's structure served as a basic template for many of the gialli that would follow.
It introduced a number of elements that became emblematic of the genre: a masked stalker with a shiny weapon in his black-gloved hand who brutally murders a series of glamorous fashion models. So Perverse ] in and Lucio Fulci Una sull'altra [ One on Top of the Other ] in , all of whom would go on to become major creative forces in the burgeoning genre. But it was Dario Argento 's first feature, in , that turned the giallo into a major cultural phenomenon.
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