Gore cine

Gore cine DEFAULT

Also see H.G. Lewis Goreography

The Gore Gore GirlsOne of the sickest, sleaziest movies it has been my pleasure to witness. Abraham Gentry (Frank Kress) is a smirky, gentleman P.I. — sort of a cross between neatnik Felix Unger (of The Odd Couple) and Dr. Sidney Freedman (of "M*A*S*H"). Gentry is hired to uncover the murderer and mutilator of a gorgeous go-go dancer. But no sooner than he’s on the case, another stripper falls victim, then another … and topless joint owner Marzdone Mobilie (comedy legend Henny Youngman) is none too pleased. Gentry, with eternally randy reporter Nancy Weston (Amy Farrell), begin to zero in on the killer. Yet not before one of the dancers gets her face IRONED and receives an involuntary boob job with a pair of scissors, well, sorta. True to form, H.G. Lewis‘s gore sequences are remarkably gruesome, but tempered by his darker-than-dark sense of humor. You’ll recoil in disgust and titter with laughter all in the same breath. Kress is particularly enjoyable as the wonderfully obnoxious sleuth. He’s perpetually condescending, while tracking the lunatic who has left behind a bloody trail of slaughtered strippers.

Notables: 11 breasts. Six corpses. Nipples roll. Lactation. Multiple eyeball squishing. Produce abuse. High-speed bartending. Angry feminists. Butt-steak tenderization. French-fried stripper.

Quotables: Gentry phones the police after discovering a mutilated dancer, "A friend of mine stepped into some trouble and seems to have lost face." The card shown at the end reads, "We announce with pride: This movie is over!"

Time codes: The bubble-gum murder (14:30). Do we really need to get THIS close? (22:10). The most civilized riot ever caught on tape (32:56). So, THAT’s where chocolate milk comes from (49:25).

Sours: https://cineschlocker.net/the-gore-gore-girls/

BECKY: A Fun, Campy, Yet Dramatic Gore-fest

After seeing advertisements for Jonathan Milot and Cary Murnion’s BECKY (2020), it seemed like a film that would go straight to digital or DVD back in the day, and while that’s all it’s been given the chance to do anyways, it deserves far more credit than a throwaway film. Will Becky be winning any awards? Definitely not, but it’s an absolute blast to watch if you’re a fan of campy horror. If you’re not into gore and violence, then I wouldn’t recommend this one, but if you’re up for that kind of thing, here’s why Becky is one of the most enjoyable on-demand films of 2020 so far.

After the loss of her mother, Becky (Lulu Wilson) and her father (Joel McHale) travel to their lake house with his new girlfriend Kayla (Amanda Brugel) and her son, Ty (Isaiah Rockcliffe). Out of nowhere, intruders enter their home, seemingly calm, and looking for a key. Within ten minutes, all hell breaks loose and Becky is now on a mission to take them all out. This film is pretty much if a filmmaker who knew how to make a gore-fest tried to replicate Home Alone in the woods. The story alone is a little by the numbers, but it works really well in context with the rest of the film.

Through films like David F. Sandberg’s ANNABELLE: CREATION (2017) or Netflix’s series THE HAUNTING OF HILL HOUSE (2018), Lulu Wilson has been proving that she’s easily one of the best young actresses working today. Her commitment to every roll always leaps off the screen and this film was no exception. One of the most surprising elements to this movie was the fact that Kevin James plays the intruders’ leader.  This is the first time I’ve seen him portray a villain, let alone a serious role, and he was solid. His subtle work here was great, and I never thought I’d say this, but I want to see him do a lot more drama now.

As the film progresses, so does the gore and death. While that is not for everyone, from a filmmaking perspective, I was blown away in certain instances. The practical effects of the gore itself were well done. There’s also a decent amount of shocking and cringe-worthy (in a good way) moments. If you find that to be an enjoyable element, then this movie is right up your ally.

Overall, Becky is a far better film than I was expecting it to be. It takes itself seriously and has a few earned dramatic moments, but it also knows when to loosen up and have some campy fun. It’s not exactly a horror movie, but a nice little revenge story with plenty of well-done gore effects, and Wilson and James’ performances were enough to keep me on board. It’s really not a lot better than calling it a great B-Movie, but that was enough. Directors Jonathan Milott and Cary Murnion have made an exciting and engaging little thriller that works from start to finish. Definitely recommend this one.

Sours: https://cineflixdaily.com/becky-a-fun-campy-yet-dramatic-gore-fest/
  1. Movie star planet
  2. Tempe bead store
  3. 808 all day stickers

Well, I am quite late to share the trailer of one of this year’s upcoming gore-filled horror rides READY OR NOT, but it is worth a watch before the film’s theatrical release on August 21.

The film follows a young bride (Samara Weaving) who joins her husband’s (Mark O’Brien) filthy rich family at his opulent mansion. She soon gets introduced with a weird family tradition of playing hide-and-seek that turns out to be the most lethal game of survival.

What we see in the trailer is that in the game, we see all the family members are up with arms to hunt the bride. Weird it sounds, but this is where the harrowing journey of a newlywed bride starts, who now has no other option but to defend herself. She must find a way out and deal with the devilish motives of her in-laws.

There are few good horror movies we have seen this year, and probably director Matt Bettinelli-Olpin and Tyler Gillett’s READY OR NOT is expected to be the much-awaited horror-comedy. The nightmarish journey promises to spill much blood and thrill, as the deadly game turns for everyone’s fighting for survival, not just the bride.

DIRECTOR: Matt Bettinelli-Olpin, Tyler Gillett
WRITER: Guy Busick, Ryan Murphy
CAST: Samara Weaving, Adam Brody, Mark O’Brien, Henry Czerny, Andie MacDowell
STUDIO: Fox Searchlight Pictures
RELEASE DATE/YEAR: July 27, 2019 (Fantasia); August 21, 2019 (United States)

Earlier this month, the movie trailer of upcoming Blumhouse thriller “The Hunt” also shows a story involving humans hunting human beings for sport. The movie is scheduled for a September 27, 2019 release.


This post is written, edited and published by the Cinecelluloid staff.

Sours: https://cinecelluloid.com/2019/08/ready-or-not-promises-horror-with-much-gore-and-thrill/
Los hombres detrás del sol - Cine gore

byGarrett Gilchrist 

The first animated feature from special effects masters Industrial Light and Magic is Rango, a Western starring Johnny Depp as the voice of a chameleon with an identity crisis.  The film opens nationwide March 4 through Paramount Pictures.

Taking his first feature film foray into animation, director Gore Verbinski, who worked with ILM helming the first three Pirates of the Caribbean films, directed the voice performances as if shooting a live-action film.  Verbinski’s longtime collaborator, Australian editor Craig Wood––also a feature animation virgin––spoke with CineMontage to discuss how Verbinski’s live-action crew handled the challenges of animation. >>>

CineMontage: You’ve worked with Gore Verbinkski for a while now, even doing effects-filled commercials, such as the Budweiser Frogs.

Craig Wood: I met Gore in 1992.  He’s tremendous fun to work with––irreverent in his humor and always giving his work a certain quirk and edge.  He’s been incredibly loyal to me––for which I am immensely grateful…and a little protective.  He’ll sit in the cutting room strumming his guitar, singing and making up ballads while we work.

We’ve now done eight features together.  Over time, the communication becomes simpler and easier.  Gore loves to talk in the abstract––and making the abstract a reality is our job.

CM: For Rango, there were 20 days of live-action filming; that’s very unusual for an animated film.

 Yes, with Gore’s same live-action crew––and very rudimentary props and costumes.  The cast loved performing off one another, rather than reading into a microphone.  The performances are much more natural and alive.  Gore shot coverage––enough to get a feel of the performances, and some of the camera angles and shot sizes.  There’s overlapping dialogue, a wonderful complicated back-and-forth.  There was no motion capture.  Rather, Johnny Depp called it “Emotion Capture.”

CM: It’s traditional in animated features to film live action as a reference, but not follow it exactly.

 A lot can be gleaned from the actors’ performances, but the character design is so radically not human that it certainly has to be interpreted by an animator.  If you’re purely copying life, I’m not sure why you’re doing an animated film.  ILM has a mastery of bringing life into these characters’ eyes.  You’d swear they’re alive and real.  I’ve seen shows where the eyes look completely dead, where the characters almost look blind.

There are no happy accidents in animation.  You have to think of everything and create it.  Everyone went to great lengths to create imperfection––lens flares and visual aberrations––and I tried to edit it as if it had been actually shot.  I’d jump the action a little bit, or have action slightly overlap.  We deliberately built in small continuity errors.  I pride myself as a live action editor on bringing that to an animated film.

 On an animated film, editing begins with rough storyboards.  How did it work on Rango?

CW: Gore worked on it over a year before I came on.  He’d imagine a camera angle, and artists would draw and re-draw storyboards.  Storyboard artist Jim Byrkit worked heavily on the story.  He’s a good friend of Gore’s, and was the temporary voice of Rango that we all heard for a long time.  I did a pass on the story reel, and we made some story adjustments.  Once they recorded the actors, all the timings changed, and new ideas came out of that.  ILM then did digital layouts, placing the characters in the scene in a primitive way, while Gore figured out the precise angles and blocking.  It only goes to the animators once it’s locked for cut.

 What was your reaction as the finished shots were coming in?

 I’d never seen animation like this.  These characters are alive; every little nuance.  Our production designer, Crash McCreery, designed the world in all its minute detail and populated it with all these unique characters.  ILM’s first animated feature had to be special.  I think it took someone like Gore Verbinski to make this happen.  Everyone was extremely excited.

I think we’re seeing a shift in what animation means.  Pixar has pushed the envelope in films like Up.  Avatar, while being motion capture, used animation techniques to realize its vision.  They’re adult stories––which children are happy to watch––sophisticated emotionally, and aimed at all audiences.  I love the original Disney films.  Fantasia is extremely sophisticated.  Animation is just another tool to tell a story, and we are telling stories in a more live-action way.

CM: The film is a sort of Spaghetti Western; even the title recalls Django from 1966.

CW: It’s a journey of self-discovery.  Rango is forced to finally discover who he really is.  We referenced Chinatown, and the Sergio Leone films Once Upon a Time in the West, and Duck, You Sucker––one of Gore’s favorites.

CM: Speaking of self-discovery, how did you get your start in editing?

 I was 19 and an assistant editor at the Australian Broadcasting Corporation.  I gradually became a sound editor there on feature documentaries.  To this day, I have a passion for sound.  Sometimes I’ll create a complete soundscape for a scene before I cut a frame of picture––an emotional atmospheric bed, perhaps insects or spooky wind or tones.  Some editors cut with music.  I’d rather do it with sound.

CM: You did some uncredited sound design for The Ring?

CW: My good friend Peter Miller has been our sound designer on a number of the films we’ve done.  He worked in Australia creating an enormous library of very unique sound work, which I’d cut into my sequences.  We duplicated that for the final, because I’d been using the intended final sounds.  Rango was quite similar; Peter created a large library of unique sounds for us.

On The Ring, the first thing I cut was the video that is the centerpiece of the film.  Gore played the sound of that video to the actors to creep them out and set the tone.  The video needed to be incredibly abstract, but also have a feeling of narrative structure.  It wasn’t conventionally scripted.  I took thermals––black-and-white images of what Gore had shot––and laid them on the floor.  I wanted to see everything in front of me and move the pieces around as frames, not as moving images.  “Well, we don’t need that one,” I’d think. We had only a couple of scenes that directly mimicked the Japanese version, but it was interesting to analyze.  Why is that as scary as it is?  There were certain scenes I thought worked particularly well.  You don’t often get the chance to make that direct comparison.  I tried to get the essence of the original without copying it.

CM: Talk about your first feature, Spirits of the Air, Gremlins of the Clouds.

 I started out editing music videos with Alex Proyas.  Spirits was his first feature film, in Australia in 1986.  It was certainly educational.  Peter was the art director and sound designer, so we’ve known each other a long time.  I’ve always been grateful for starting in music video.  I still think of the entire soundtrack as music and the picture being another instrument playing along.

 You went to work for Gore on his first feature, Mousehunt.

 He wanted an ally, someone he knew and could trust and communicate with; I was delighted to be chosen.  If I’d known what I knew at the end, I’d have been terrified, but I went in blindly confident and came out okay at the other end.  The music videos and commercials we did were visual effects-driven, and I’ve had a passion for visual effects photography since my teens, so that didn’t scare me at all.  Alex was very confident with effects, and Gore certainly is; he comes from an effects background.  But the logistics of making a Hollywood feature film––navigating the minefield of politics––that’s always been a challenge.

 Tell me about cutting The Mexican.

 There are scenes between James Gandolfini and Julia Roberts that I think are magical.  There are three flashback scenes that end with the clock tower chiming––just a soundtrack detail.  At the end, Julia has to decide whether she’ll fire the gun.  She fires, and a gold ring falls from the gun, in huge slow motion.  I held the silence, and as it hits the ground, the town clock chimes again.  It’s beautifully symmetrical.  These things we bury in our work; I’m not sure anyone notices, but I think people feel that stuff.

Just as Gore has been loyal to me over the years, I’ve tried to be loyal to my assistants.  Simon Morgan has assisted me on every one of the films I’ve done, and has been my first since The Mexican.  It’s hard to imagine doing a film without him.

CM: Between the first two Pirates of the Caribbean films, you did The Weather Man.

CW: I’m particularly proud of that one.  One of the reasons I love working with Gore is that everything we do––when it’s not a trilogy––is completely different.  We’ve never done an animated film, and we’re figuring out our own way of doing it on Rango; finding ways to break the rules and make that work.  Whatever you think of any of the films we’ve done, they’ve got integrity and uniqueness––and a voice that is very specifically Gore.  I love supporting that voice.

CM: But you’ve edited films other than Gore’s––Highway, James Cox’s first feature, for instance.

CW: There’s an excitement and energy in a first-time director that’s just infectious.  It’s new to them and it becomes new to you.  I love things to feel fresh; each film has to be testing me in some new way.  Otherwise, an audience feels that staleness.  Some studios would like things to be a little safer, but the most interesting films, and the biggest successes, are risks.

CM: Even Pirates of the Caribbean seemed like an unlikely hit on paper.

CW: I remember saying, “You’ve got to be kidding!  An amusement park ride?” And we didn’t have a script yet.  “What are you thinking?”  But Gore pulled that one out!  It was a huge rollercoaster ride, and so much fun.

CM: Johnny Depp’s performance as Jack Sparrow was a bold and unusual choice that made the film.

CW: I know, and I don’t think many people understood the performance until well after the film came out.  Gore was very confident.  Johnny knew what he was doing.  But the producers weren’t sure.  I wasn’t even 100 percent sure.  I didn’t understand it, and toned it down quite a bit initially.  We had to go back later and amp up those scenes to match the rest.  It takes some figuring out, some teething time.

CM: You did Pirates 2 and 3 back-to-back.

CW: It was two very intensive years, right through.  The schedule was tight; we had unmovable release dates well in advance––and far more visual effects.  I’m especially proud of Pirates 2, the middle part of a trilogy.  You have to be even more creative because you can’t rely on conventional story structure.  How many editors have had the opportunity to cut a trilogy?  They’re very complicated films.  People love to revisit them; they keep finding something new.  Rango is very much the same.  In fact, to this day, I’m finding fantastic background details that have a joke, or are full of resonance to the scene, which I never noticed before.

“My philosophy has always been: The more finished it can seem as you’re cutting it, the better your choices are.  Even down to spatial references, where you’ve placed things.  It’s an upside-down process, editing before a frame of film has been shot.” – Craig Wood

CM: After Pirates, you did another director’s first feature, Guillermo Arriaga’s The Burning Plain.

CW: After Pirates, I consciously wanted to do something completely different––a serious drama.  The producers, Walter Parkes and Laurie MacDonald, suggested me to Guillermo.  “The editor of Pirates of the Caribbean?  You have to be kidding me!”  But he really liked me; he realized I’d cut The Weather Man, and that helped convince him.  Pirates gave us all some respect, but there’s a curse with that too, because we don’t always want to be making one type of film.

CM: Well, doing an animated film is certainly something completely different. What was the process like on Rango?

CW:Rango is the first film I’ve edited in five-track stereo––full immersive surround.  My philosophy has always been: The more finished it can seem as you’re cutting it, the better your choices are.  Even down to spatial references, where you’ve placed things.  It’s an upside-down process, editing before a frame of film has been shot.  It gives you much more input.  You not only can choose your takes, and the rhythm between shots, but you can adjust the rhythm internally in a shot before it’s animated.

CM: Now that you’ve almost finished one, what do you think of editing animated films?

CW: I’ve developed a huge respect for editors of animated films.  Any live-action film I’ve ever worked on took less than a year.  I’ve been on Rango for over two years now!  It’s a huge commitment, but I’m proud and grateful to be involved.  A lot of love went into making Rango.  I know there’s a lot of me––and all of the key creative personnel––in it.  And Gore, of course.  So many performances owe a lot to his acting out facial expressions for the animators, encouraging them to “give it more fuzz,” a twist in a more interesting and unusual direction.

Things get tough, but even when we’ve had huge problems to solve, we just get to it and it’s fun.  This past week, I’ve been in the best mood––and we’re working stupid hours.  I think there’s something wrong with me!



Craig Wood
Selected Editing Credits

Rango (2011) *
The Burning Plain (2008)
Pirates of the Caribbean:
At World’s End (2007) *
Pirates of the Caribbean:
Dead Man’s Chest (2006) *
The Weather Man (2005) *
Pirates of the Caribbean: The
Curse of the Black Pearl (2003) *
The Ring (2002) *
Highway (2002)
The Mexican (2001) *
Forces of Nature (1999)
MouseHunt (1997) *
Spirits of the Air,
Gremlins of the Clouds (1989)

* directed by Gore Verbinski

Sours: https://cinemontage.org/rango-craig-wood/

Cine gore

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Sours: https://www.bookdepository.com/El-cine-gore-2-Una-historia-sangrienta-George-E-Vault/9798644089109
IMPETIGORE- Pelicula de terror completa en español 2021

Mondo film

Film genre

Mondo films are a subgenre of exploitation films and documentary films. Many mondo films are made in a way to resemble a pseudo-documentary and usually depicting sensational topics, scenes, or situations. Common traits of mondo films include portrayals of foreign cultures (which have drawn accusations of ethnocentrism or racism),[1] an emphasis on taboo subjects such as death and sex, and staged sequences presented as genuine documentary footage. Over time, the films have placed increasing emphasis on footage of the dead and dying (both real and fake).[2] The genre is also noted for the graphic footage of death and deceased people often shown in many such films, leading to the popular nickname of "death film".

The term mondo is derived from the Italian word for "world". The term shockumentary is also used to describe the genre.

Mondo films began to soar in popularity in the 1960s with the releases of Mondo Cane (1962), Women of the World (1963) and Africa Addio (1966). The genre arguably reached its peak with Faces of Death in 1978, a film that inspired a myriad of imitators, such as the Traces of Death series, Banned from Television, Death Scenes and The Faces of Gore series.


Although earlier films such as Alessandro Blasetti'sEuropa di notte (Europe By Night, 1959) and Luigi Vanzi'sIl mondo di notte (World By Night, 1961) may be considered examples of the genre,[3] the origins of the mondo documentary are generally traced to the 1962Italian film Mondo Cane (A Dog's World—a mild Italianprofanity) by Paolo Cavara, Gualtiero Jacopetti and Franco Prosperi which was a commercial success.[4][5][6]

Documentary films imitating Mondo Cane in the 1960s often included the term "mondo" in their titles, even if they were in English; examples include Mondo Bizarro, Mondo Daytona, Mondo Mod, Mondo Infame and Mondo Hollywood.[7] Films outside the genre followed suit: Mondo Trasho, Mondo Weirdo: A Trip to Paranoia Paradise, Mondo Keyhole[8] and Mondo Brutale (a German release of Wes Craven's The Last House on the Left[9]) title themselves mondo, although none are mondo documentaries. Later in the decade, this naming convention began to fall out of favour and fewer mondo films identified themselves as such in their titles.[7]

Filmmakers wanted to top each other in shock value to attract audiences. Cruelty to animals, accidents, tribal-initiation rites and surgeries are features of a typical mondo. Much of the action is staged, although the filmmakers may claim their goal is to document "reality". Subjects of mondo films include sex (Mondo Sex and Mondo Sexualis USA); celebrities (Mondo Elvis and Mondo Lugosi); youth culture (Mondo Teeno) and the gay subculture (Mondo Rocco).

Russ Meyer's film Mondo Topless was one of the few "documentaries" restricted to the old midnight movie circuit in the pre-VCR era; it explored strip clubs in 1960s San Francisco at a time when strip clubs were a novelty in the United States, restricted to centers of port-city decadence (such as San Francisco). Other examples of this genre include Mondo New York by Harvey Keith, Mondo di Notte by Gianni Proia and Mondo Balordo by Roberto Bianchi Montero.

The 1980s saw a resurgence of mondo movies focusing almost exclusively on (onscreen) death, instead of world cultures. The Faces of Death series is a notable example of this type of mondo (or "death") movie. The producers used fake footage (passed off as real), but some of the footage was legitimate (including scenes of autopsies, suicides and accidents).

The rare 1985 film Mondo Senza Veli (World Without Veils or Mondo Fresh) was purported by viewers to feature at its end the brutal execution of a young Arab rapist by public rectal impalement. This episode was, however, believed to have been a staged execution by some viewers.

Mondo films in the 21st century feature gore, exemplified by the Faces of Gore and Traces of Death series. There is less fake footage, and many use news footage of accidents from East Asia.[citation needed]

The late 2010s saw another resurgence beginning with the Bootleg Death Tape series and Faces of Dying series from filmmaker Dustin Ferguson which both involved various independent Directors from around the world.

A number of films have parodied the genre. Examples include Ricardo Fratelli's Mondo Ford, Mr. Mike's Mondo Video by Saturday Night Live's Michael O'Donoghue, and Is There Sex After Death? by Jeanne and Alan Abel. Mondo Beyondo spoofed the films' approach to titling but was a parody of satellite television.[10] The Italian cannibal film is arguably an offshoot of the mondo film.[8]


The original mondo film series was the Mondo Cane series by Gualtiero Jacopetti, Paolo Cavara, and Franco Prosperi. When this type of film proved successful, many imitators followed.

TitleYearCountryDirector and screenplayMusicUncut run timeNotes
Mondo Cane1962 Italy Gualtiero Jacopetti
Paolo Cavara
Franco E. Prosperi
Riz Ortolani108 minutes R-rated run time 85 minutes
La donna nel mondo1963Riz Ortolani
Nino Oliviero
107 minutes a.k.a. Women of the World
Mondo Cane 21963Gualtiero Jacopetti
Franco Prosperi
Nino Oliviero 95 minutes R-rated run time 76 minutes; a.k.a.Mondo Pazzo
Africa Addio1966Riz Ortolani 139 minutes Unrated English version 128 minutes; R-rated version 80 minutes
Addio Zio Tom1971136 minutes Unrated English version 123 minutes; a.k.a.Goodbye Uncle Tom

The pair's Mondo candido (1975) is not a "Mondo" film; the title was imposed on them by the studio, who wished to cash in on their earlier successes. The film is a retelling of Voltaire's novel, Candide.

In the late 1980s Stelvio Massi (a.k.a. Max Steele) made two spinoffs of the original Mondo Cane series, known as Mondo Cane 3 and Mondo Cane 4 on video.

TitleYearCountryDirector and cinematographyScreenplayUncut run timeNotes
Mondo Cane Oggi1986Italy Stelvio MassiStelvio Massi 78 minutes AKA Mondo Cane 3
Mondo Cane 2000, l'Incredibile1988G. Crisanti 73 minutes AKA Mondo Cane 4

In 1969, brothers Angelo and Alfredo Castiglioni began to make a series of their own mondo films until the early 1980s. They made five films in all, tying Jacopetti and Prosperi as the most prolific mondo film producers. Each film examines brutal and bizarre behavior on the African continent. Their films are considered some of the most graphic Mondo films ever made.[citation needed]

Africa Segreta1969Italy Angelo Castiglioni
Alfredo Castiglioni
Angelo Francesco LavagninoAKA Secret Africa; uncut run time 103 min
Africa Ama1971AKA Africa Uncensored
Magia Nuda1975Ciro Dammicco (credited as Zacar)AKA Mondo Magic
Addio Ultimo Uomo1978Franco GodiAKA The Last Savage
Africa Dolce e Selvaggia1982AKA Shocking Africa

Antonio Climati, cinematographer to Prosperi and Jacopetti in many mondo films, joined Mario Morra in 1974 to produce their own string of mondo films, known as the Savage Trilogy. Prosperi also produced the films. Climati and Morra were known for staging scenes.

The 1978 Faces of Death popularized a Mondo style known as "death films", which depicted humans or animals dying in graphic ways.

Uwe Schier bought the rights to the Mondo Cane and Faces of Death films and released his own entries in both series, consisting largely of footage lifted from other mondo films. Faces of Death 5 draws heavily on Death Scenes; Faces of Death 6 consists almost entirely of Days of Fury and Mondo Cane IV (not to be confused with Mondo Cane 2000, l'Incredibile, Schier's Mondo Cane IV is in fact the fifth film in the series) lifts from other films (including Death Scenes and Death Faces IV).[11] In 1993, Hurricane Pictures edited a mix of scenes featured in Addio ultimo uomo and Shocking Africa, labeling it the "fifth chapter" of the saga (Teil V in German).

Mondo Cane IV1992Germany
Mondo Cane teil V1993AKA Mondo Cane 5; producers Uwe Schier and Gian Carlo Rossi[citation needed]
Faces of Death 51995
Faces of Death 61996

Several imitators followed the Faces of Death series; many used (or were composed entirely of) footage from other mondo films.

See also[edit]


  1. ^Kerekes & Slater, p. 108.
  2. ^Mondo New York (1988) The New York Times
  3. ^Kerekes & Slater, p. 102.
  4. ^Mondo Cane (1962) The New York Times
  5. ^Revisiting a Cinematic Smackdown, and Other Avant-Garde Pleasures The New York Times, October 1, 2009
  6. ^Mondo Cane Variety Reviews, December 31, 1961
  7. ^ abKerekes & Slater, p. 107.
  8. ^ abKerekes & Slater, p. 109.
  9. ^Kerekes & Slater, p. 315.
  10. ^Kerekes & Slater, p. 155.
  11. ^Kerekes & Slater, pp. 156-158.


  • RE/Search No. 10: Incredibly Strange Films: A Guide to Deviant Films. RE/Search Publications 1986, ISBN 0-940642-09-3
  • Brottman, Mikita: Mondo Horror. Carnivalizing the Taboo. In: Prince, Stephen (ed.) 2004: The horror film. S. 167-188. New Brunswick: Rutgers University Press. ISBN 0813533635.
  • Goodall, Mark 2006: Sweet & Savage. The World Through the Shockumentary Film Lens. London: Headpress. ISBN 978-1900486491. (the standard work on the mondo and cannibal genre)
  • Goodall, Mark 2006: Shockumentary Evidence. The perverse politics of the Mondo film. In: Dennison, Stephanie (Hg.) 2006: Remapping world cinema. Identity, culture and politics in film. S. 118-128. London: Wallflower. ISBN 978-1904764625.
  • Kerekes, David; Slater, David 2006: Killing for culture. Death film from Shockumentaries to snuff. Manchester: Headpress. ISBN 1900486636.
  • Stefano Loparco, 'Gualtiero Jacopetti - Graffi sul mondo'. The first complete biography dedicated to the co-director of 'Mondo cane'. Il Foglio Letterario, 2014 - ISBN 9788876064760
  • Shipka, Danny 2011: Perverse titillation. The exploitation cinema of Italy, Spain and France, 1960-1980. Jefferson: Mcfarland. ISBN 978-0786448883.

External links[edit]

Sours: https://en.wikipedia.org/wiki/Mondo_film

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