Cannibal Holocaust: The Savage Cinema of Ruggero Deodato by Julian GraingerCannibal Holocaust: The Savage Cinema of Ruggero Deodato by Julian Grainger

Cannibal Holocaust: The Savage Cinema of Ruggero Deodato

byJulian GraingerEditorHarvey FentonwithGian Luca Castoldi

Hardcover | October 6, 2011

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REVISED AND UPDATED COLLECTOR'S EDITIONCannibal Holocaust is widely acclaimed as being one of the greatest horror movies of all time; indeed this hugely influential film is so devastatingly effective that it is often wrongly accused of being a 'Snuff' movie.This book is the fully authorised guide to the amazing films of Ruggero Deodato, whose notorious masterpiece CANNIBAL HOLOCAUST is analysed in depth along with all his other movies, which include HOUSE ON THE EDGE OF THE PARK, WAVES OF LUST, CUT AND RUN, LAST CANNIBAL WORLD, BODYCOUNT, PHANTOM OF DEATH, THE BARBARIANS, DIAL: HELP, THE ATLANTIS INTERCEPTORS and LIVE LIKE A COP, DIE LIKE A MAN.With two career-spanning interviews, a detailed filmography, reviews of all his movies and a stunning selection of stills, ad-mats, rare posters and behind the scenes photographs selected from Ruggero Deodato's personal collection, this book is the definitive reference work on one of Italy's most accomplished horror film directors.Fully revised and updated, with an extra 16 pages of new text and illustrations, and issued in hardback for the first time.
Title:Cannibal Holocaust: The Savage Cinema of Ruggero DeodatoFormat:HardcoverDimensions:128 pages, 12 × 9 × 0.5 inPublished:October 6, 2011Publisher:Fab PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1903254655

ISBN - 13:9781903254653

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Read from the Book

Ruggero Deodato has the dubious honour of being the man who created one of the most infamous horror movies ever made. Cannibal Holocaust is Deodato's most celebrated movie, and he is fully aware of this fact; during the course of the interview featured in this book, he says, "The best one for me is Cannibal Holocaust. It is impossible to equal that film...” Deodato will never live down the legacy of this stunning film, and one gets the impression that he is content with this state of affairs, hence this book rightfully devotes a large proportion of its pages to documenting every aspect of Deodato's brutal, distressing masterpiece. However we are also here to thoroughly document the entire career of one of the busiest men in the film-making industry. He has survived in this most turbulent of environments for over forty years by being ever-adaptable, willing to try his hand at any genre: along with two further jungle-adventures - Last Cannibal World and Cut and Run - his filmography includes cop thriller Live Like a Cop, Die Like a Man, claustrophobic slasher House on the Edge of the Park, apocalyptic adventure movie The Atlantis Interceptors, costume fantasy film The Barbarians, plus an impressive array of comedies, erotic thrillers and prime-time Italian TV serials. This book is the most comprehensive analysis of Deodato's work ever published. It is our intention that the career-spanning interview and detailed filmography printed in these pages will serve as a valuable, lasting source of reference for everyone who takes an interest in this increasingly important figure in the world of cinema. Ruggero Deodato was born on 7 May 1939 in Potenza, Italy. He grew up in the Parioli region of Rome, which happened to be home to many of the prime movers in the vibrant 1950's Italian movie industry. Due to this cultural background, Deodato was naturally drawn to the world of cinema, becoming good friends with the son of the great neo-realist director Roberto Rossellini at an early age. This friendship opened the door to Deodato's film-making career when, in 1958, Rossellini asked him to undertake third assistant director work on the French / Italian co-production Il generale della rovere (released 1959). Deodato's work on this film was uncredited, but he very quickly became one of the most sought-after assistant directors in Italy, amassing an impressive total of more than forty credits in the eight year period up to 1967.

Editorial Reviews

"... insightful and enjoyably lurid ..." -- Shock Cinema magazine