Lamberto Bava is an Italian film director. Born in Rome, Bava began working as an assistant director for his director father Mario Bava. Lamberto co-directed the 1979 television film La Venere d'Ille with his father and in 1980 directed his first solo feature film Macabre. Bava collaborated with Dario Argento on films such as Demons. After 1990, Bava's work was predominantly involved with television, such as his Fantaghirò series. Lamberto Bava was born in Rome, Italy on 3 April 1944. Lamberto's father Mario Bava was a film director known as a director of horror films. Lamberto's film career began in the mid-1960s working as an assistant director on his father's film Planet of the Vampires. Lamberto would collaborate with his father on several of his projects, including Danger: Diabolik, Twitch of the Death Nerve and Shock Lamberto Bava had a co-directing credit with his father Mario on the television film La Venere d'Ille, an entry in the Il Giorno del Diavolo tv series. Besides the work he did with his father, Lamberto contributed to making films with Italian director Ruggero Deodato, such as Ultimo mondo cannibale and Cannibal Holocaust.
A meeting with director Pupi Avati led to Bava directing his own feature film Macabre in 1980, co-written with Pupi and Antonio Avati. The film stars Bernice Stegers as Jane, a woman who has an affair with a man Stanko Molnar, who dies. After his death, Jane performs erotic acts with it. According to Lamberto Bava, after seeing Macabre, Mario told him "Now I can die in peace". Mario died in 1980. Following the release of Macabre, Lamberto Bava worked in advertising and continued to write stories for potential future film projects, he was approached by director Dario Argento to assist him with his giallo film Tenebre, wherein Bava is credited as an assistant director. In 1983, Lamberto Bava directed his second feature film as a director, the giallo film A Blade in the Dark. A Blade in the Dark was developed as a television film shot in four 25-minute segments on a low budget; the film stars Andrea Occhipinti as the music composer Bruno, a man who becomes involved in a series of murders while staying at a secluded villa.
Bava's next two film projects were in different genres than his previous giallo and horror film output. Bava was given a script for Blastfighter, a film written as a remake of the Australian film Mad Max with the intention of giving it to director Lucio Fulci. Blastfighter starred Michael Sopkiw as Tiger, a detective, released from prison for shooting the man who killed his wife. Tiger moves into the woods with his daughter. Lamberto's next film, Monster Shark, was a science fiction film about a mutated shark that goes on a killing spree with two marine biologists attempting to track down the creature to stop it. In 1985, Lamberto Bava reteamed with Dario Argento on the film Demons. Argento co-wrote and produced Bava's film about a theater showing invitation-only screenings of a horror film. In the theater's lobby, a young woman is scratched by a display in the lobby and transforms into a hideous creature who attacks other audience members, spreading her demonic infection; the film was followed by the sequel Demons 2 in 1986 which had many of the same cast and crew members from Demons.
Demons 2 features a television program. Bava made the television film Midnight Killer the same year; the film is about a series of murders which are similar to one, committed 15 years prior, despite the fact that the murderer died in a fire. Bava makes a cameo in the film as a photographer at the beginning of the film. While working on Midnight Killer, Bava began preparing Delirium. Delerium stars Serena Grandi as a model for Pussycat magazine. Gioia's co-workers end up murdered through bizarre means including pitchforks and bees and their corpses posed in front of photos of her, which Gioia receives in the mail from the murderer. Bava returned to television work making several episodes of a series of hour-long films produced by Dario Argento. Bava's episodes included "E...di Moda la Morte", "Heavy Metal", "Buona Fine È Migliore Principo", "Giubetto Rosso", "Il Bambino Rapito" and "Babbao Natale". In July 1986, the company Reteitalia announced that they would new television films for a series titled Brivido giallo would be directed by Bava.
The films were shot between 1987 and 1988 where there were initally going to be a series of five films, it ended up being four. The first was Graveyard Disturbance, shown at the Sitges Film Festival in 1987 and Until Death, released on home video in Germany over a year before its television debut in Italy in 1989; the other films in the series were The Dinner with a Vampire. The Brivido giallo series was not popular with critics or audiences which led to Bava's next television films in a series titled Alta tensione which were shot between 1988 and 1989 to be only be released in 1999 on the Mediaset network. One television film made at that time for the series was only released in 2007 on the satellite channel Fantasy TV. Bava did a remake of Black Sunday for the Eurpean television series Sabbath titled La maschera del demonio which premiered in June 1990 at Rome's Fantafestival. Bava began the 1990s with the fairy tale inspired its many sequels. In 1992, Bava made the film Body Puzzle, which starred Joanna Pacula, who learns that her late husband Abe had a lover named Tim Bell
Claudia Gerini is an Italian actress and showgirl. Born in Rome, Gerini won the National Competition of Miss Teenager in 1985, she got her first part in a film, La ballata di Eva, at 14. She subsequently played in Ciao mà, Roba da ricchi and Night Club, by Sergio Corbucci, many others. At 19 she worked for the popular TV show Non è la Rai, a sort of academy with one hundred girls singing and gaming, her first major role was in Il padre e il figlio, directed by Pasquale Pozzessere. She moved to Paris to learn French for several months, travelling a lot between Italy and France without leaving off University. At 22 she returned to Italy and got a role as protagonist in Angelo e Beatrice, a theatrical work by Francesco Apolloni presented on the stage at the Theater Coliseum in Rome, where director and actor Carlo Verdone noticed her; the encounter with Verdone produced Viaggi di nozze and Sono pazzo di Iris Blond, both Christmas box-office successes. Gerini collaborated with Leonardo Pieraccioni, Massimo Ceccherini, Antonio Rezza and Antonello De Leo, moved both to Los Angeles, U.
S. and Madrid, Spain to improve her English and Spanish, respectively. In Spain she worked for Desafinado by La playa de Los Galagos by M. Camus, her latest roles include Francesca e Nunziata, directed by Lina Wertmüller, Al cuore si comanda, Non ti muovere, La sconosciuta and the recent Nero bifamiliare, directed by her then-partner, singer-songwriter Federico Zampaglione. 2014: nominated to David di Donatello for Best Supporting Actress for her performance in Tutta colpa di Freud Claudia Gerini on IMDb Official Site
Angela and Luciana Giussani
Angela and Luciana Giussani were two Italian sisters, famous for their comic book anti-hero series, Diabolik. The character, created in 1962, has sold more than 150 million copies since he made his first appearance; the comic book inspired a movie, a radio show, a TV series and countless parodies and pastiches. Both sisters were born in Milan. Angela Giussani worked as a model and entered into the publishing world when she married Gino Sansoni, working for a series of her husband's publishing house, she founded the publishing company Astorina, which launched Diabolik on November 1, 1962. Luciana collaborated with her on the series' stories starting from issue #13. Luciana Giussani was educated at the German School of Milan. After Angela's death in 1987, Luciana carried on directing the publisher and writing many of Diabolik's episodes, she died two years later. Barzi, Davide. Le Regine del Terrore. Edizioni BD
The Fiat 600 is a rear-engine, water-cooled city car and marketed by Fiat from 1955 to 1969 — offered in two-door sedan and four-door mini MPV body styles. Measuring only 3.22 m long, it was the first rear-engined Fiat and cost the equivalent of about €6,700 or US$7300 in today's money. The total number produced from 1955 to 1969 at the Mirafiori plant in Turin was 2,695,197. During the 1960s,'70s and'80s, many units were sold in countries such as Spain, where it became the icon of the Spanish miracle, where it was nicknamed Fitito and former Yugoslavia where it was nicknamed Fića. Codenamed Progetto 100, the Fiat 600 mirrored the layout of the Volkswagen Beetle and Renault 4CV of its era. Aimed at being an economical but capable vehicle, its design parameters stipulated a weight of around 450 kg with the ability to carry 4 people and luggage with a cruising speed of no less than 85 km/h. A total of 5 prototypes were built between 1954, which all differed from each other. Chassis number 000001 with engine number 000002 is believed to be the sole remaining example, according to a recent report by Quattroruote's "Ruoteclassiche" vintage division.
It was powered by an innovative single-cam V2-cylinder engine designed to simplify maintenance and did not feature a clutch pedal. At the official launch in 1955, FIAT engineer, Dante Giacosa declared that the aim had been to create something new, both in the interest of progress and simplification; this prototype, did not become the chosen design. The car had hydraulic drum brakes on all four wheels. Suspension was a single double-mounted leafspring—which acts as a stabilizer—between the front wheels coupled to gas-charged shock absorbers, an independent coil-over-shock absorber setup coupled to semi-trailing arms at the rear. All 600 models had 3-synchro 4-speed transaxles. Unlike the Volkswagen Beetle or Fiat 500, the Fiat 600 is water-cooled with an ample cabin heater and, while cooling is adequate, for high-power modified versions a front-mounted radiator or oil cooler is needed to complement the rear-mounted radiator. All models of the 600 had generators with mechanical external regulators.
The top speed ranged from 95 km/h empty with the 633 cc inline-four engine to 110 km/h with the 767 cc version. The car had defrosting systems. A year after its debut, in 1956, a soft-top version was introduced, as well as a six-seater variant—the Fiat 600 Multipla, it was a precursor of current multi-purpose vehicles. The millionth 600 was produced less than six years after the car's launch. At the time when the millionth car was produced, the manufacturer reported it was producing the car at the remarkable rate of 1,000 a day; as of mid 2017 there were 78 registered as taxed for road use in the UK and 44 registered as SORN. In Spain, the 600 model was made under the make of SEAT, from 1957 to 1973. Up to 797,319 SEAT 600 were made; the Spanish car maker exported them to a number of countries worldwide. This car motorised Spain after the Spanish Civil War. SEAT produced various derivatives of the original 600 model some of them with improvements and special fittings like the use of "suicide doors": the SEAT 600 D/E/L Especial version, the'Descapotable' cabriolet and the'Formicheta' commercial version etc.
The most interesting version produced between 1964 and 1967 by SEAT is the SEAT 800, the sole four-door derivative of the 600 model which received a longer wheelbase. It was developed in-house by SEAT and produced by the Spanish car maker without any equivalent model in Fiat's range; the Fiat 600 was manufactured at Fiat Neckar in Germany between 1956 and 1967. Presented in a first time as Jagst 600, in 1960 with the release of Fiat 600D it became Jagst 770; the model was manufactured until the end of more than 172,000 copies. In former Yugoslavia the model was much sought after, was produced under the name Zastava 750, nicknamed "Fića" or "Fićo" in Serbo-Croatian, "Fičo" or "Fičko" in Slovene, "Фиќо/Фичо" in Macedonian, it was produced by the Zastava factory in Kragujevac, from the early 1960s until 1985, during which time it played a major role in motorisation of the country, due to its affordability. The 600 was built as the Fiat 600 R by Sevel in Argentina from 1960 to 1982, with assembly operations taking place in Uruguay by Ayax S.
A. and in Chile. At first, Someca S. A. built the 600 with rear-hinged doors and the 633 cc engine from parts shipped in from Italy. As a new plant was constructed in the Ferreyra, a suburb of Córdoba, the local parts content increased. In 1962 the 600D was introduced, with a 32 hp 767 cc engine. In August 1964, around the same time that the local firm changed its name to Fiat Concord S. A. the second 600D was introduced, with slight changes to its appearance. The suicide doors continued to be used until the April 1965 appearance of the 600E, which gained some extra power. Early in 1967 the 600E received a slight facelift with bigger headlights, new rims, a new "grille" in front. In November 1970 the 600R appeared; the external differences were limited to trim, but the interior saw more thorough changes, with a new steering wheel, inner ceiling, seat coverings. The hubcaps were replaced with tiny rubber caps; the 767 cc 36 hp 600 R was in turn replaced by the 32 hp 843 cc 600 S in July 1977, a version featuring new bumpers with rubber overriders and a black plastic faux-grille to replace t
Marisa Mell was an Austrian actress who became a cult figure of 1960s Italian B-movies. She was died in Vienna. In 1963, she was involved in a serious automobile accident in France. For six hours, she lay unaware that she nearly lost her right eye; the disfigurement extended to her lip as well. She spent the next two years undergoing plastic surgery, no damage remained in her face, except for a distinctive curl of her upper lip, she turned down a seven-year Hollywood contract, saying that while the payment would have been great, "the contract was a whole book. I think that to go to the toilet I would have needed a permission."In 1967, she performed the title role in the "utterly calamitous" musical Mata Hari alongside Pernell Roberts. After a preview performance in Washington, D. C. that became infamous for its numerous technical problems, producer David Merrick, decided to close the doomed production before it reached Broadway. Mell may be best-known for the role of Eva Kant in Danger: Diabolik.
In the late 1990s, the television show MST3K brought the actress to a new generation of B-movie viewers when the film was featured on the final episode of the series. The show spoofed another of her starring roles in the film Secret Agent Super Dragon. Mell died in Vienna from throat cancer in 1992, aged 53; the Cry of the Wild Geese The Puzzle of the Red Orchid Venusberg Ein Mann im schönsten Alter The Last Ride to Santa Cruz French Dressing Masquerade Casanova 70 Diamond Walkers Train d'enfer Secret Agent Super Dragon Danger: Diabolik Una sull'altra Marta The Great Swindle Alta tensión Seven Blood-Stained Orchids Gang War in Milan Mahogany Casanova & Co. Es muss nicht immer Kaviar sein Beast with a Gun Ring of Darkness I Love Vienna Marisa Mell fansite Marisa Mell on IMDb
Comics is a medium used to express ideas through images combined with text or other visual information. Comics takes the form of juxtaposed sequences of panels of images. Textual devices such as speech balloons and onomatopoeia indicate dialogue, sound effects, or other information; the size and arrangement of panels contribute to narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics. Common forms include comic strips and gag cartoons, comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, tankōbon have become common, while online webcomics have proliferated in the 21st century with the advent of the internet; the history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings in France. By the mid-20th century, comics flourished in the United States, western Europe, Japan; the history of European comics is traced to Rodolphe Töpffer's cartoon strips of the 1830s, but the medium became popular in the 1930s following the success of strips and books such as The Adventures of Tintin.
American comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips. Histories of Japanese comics and cartooning propose origins as early as the 12th century. Modern comic strips emerged in Japan in the early 20th century, the output of comics magazines and books expanded in the post-World War II era with the popularity of cartoonists such as Osamu Tezuka. Comics has had a lowbrow reputation for much of its history, but towards the end of the 20th century began to find greater acceptance with the public and academics; the term comics is used as a singular noun when it refers to the medium, but becomes plural when referring to particular instances, such as individual strips or comic books. Though the term derives from the humorous work that predominated in early American newspaper comic strips, it has become standard for non-humorous works too. In English, it is common to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language comics.
There is no consensus amongst historians on a definition of comics. The increasing cross-pollination of concepts from different comics cultures and eras has only made definition more difficult. Examples of early comics The European and Japanese comics traditions have followed different paths. Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Japan had a long prehistory of satirical comics leading up to the World War II era; the ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century. In 1930s, Mr. Chester, an early founder of "the Golden Age of Comics", which make the comics flourished after World War II. In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.
Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankōbon in Japan, the graphic novel in the English-speaking countries. Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France, Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, William Hogarth's 18th-century sequential engravings, amongst others. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of, the short-lived The Glasgow Looking Glass in 1825; the most popular was Punch. On occasion the cartoons in these magazines appeared in sequences. American comics developed out of such magazines as Puck and Life; the success of illustrated humour supplements in the New York World and the New York American Outcault's The Yellow Kid, led to the development of newspaper comic strips.
Early Sunday strips were full-page and in colour. Between 1896 and 1901 cartoonists experimented with sequentiality and speech balloons. Shorter, black-and-white daily strips began to appear early in the 20th century, became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff. In Britain, the Amalgamated Press established a popular style of a sequence of images with text beneath them, including Illustrated Chips and Comic Cuts. Humour strips predominated at first, in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama became popular. Thin periodicals called
Diabolik is an Italian comics series created by sisters Angela and Luciana Giussani. One of the most popular series in the history of Italian comics, Diabolik was created in 1962 and consists of more than 800 volumes, leading to the birth of the fumetti neri comics subgenre; the series is named after its protagonist, an anti-heroic thief, inspired by several previous pulp fiction characters from Italy and other countries. Its stories consist of monthly digest-sized volumes; the series takes place in the fictional town Clerville and stars the titular Diabolik represented as a ruthless and cruel thief who does not hesitate to murder anyone in order to accomplish his deeds, aided by his partner and lover Eva Kant. Over the time, the character evolved his personality, developing healthy roots and ethical principles such as honor, the sense of friendship and gratitude, respect for noble souls and killing other criminals. Throughout his adventures, he is pursued by the Inspector Ginko; the series sold more than 150 million copies, becoming one of the best-known and best-selling comics series from Europe.
Its success had inspired a live action movie, a radio show, an animated television series, video games and countless parodies. The idea for the character of Diabolik was born from seeing commuters every day. Co-creator Angela Giussani, who lived near Milano Cadorna railway station, thought of making comics in a format designed for travelling and carrying in one's pocket. To better understand the tastes of her potential readers, Angela made a survey of the market, from which she concluded that many commuters read mystery novels. Another version of the story claims that the idea came from her finding a Fantomas novel abandoned in a train, thus was born the "Diabolik format", which proved popular with other publications in the same genre. The pocketbook format contributed, to the success of the character. Diabolik is a ruthless master thief, he steals from criminals, has a set of lifelike masks which he uses to fool his opponents, assuming every identity at will. He seems to have a deep knowledge in many scientific fields, including chemistry and computers.
In his first appearances, Diabolik was a more straightforward villain who did not hesitate to murder anyone in order to accomplish his deeds. He was given a more "Robin Hood"-like persona and was shown stealing from criminals, in order to soften the series’ violence and amorality, he was raised as an orphan on a secret island hideout of a criminal combiné, where he learned all his criminal skills, including developing his special masks, before killing the head of the combine. Diabolik’s true name had never been revealed in the series, he does not know it himself. Diabolik took his name from a dangerous black panther that the head of the combine killed on the secret island. From issue #3 of the series, Diabolik is aided by his "moll", Eva Kant, who has gained an increasing role as his partner and lover. Diabolik always drives a black 1961 Jaguar E-type. Graphically inspired by the actor Robert Taylor, he wears a skintight black body suit that leaves only his eyes and eyebrows exposed when going "into action".
Diabolik does not use firearms: his main weapons are the daggers he throws with uncanny ability, as well as a small dart gun with knockout darts. Eva drives a white Jaguar, unusually goes into action wearing a heavy sweater and pants, no mask and no revealing clothing; the stories are set in a fictional town, loosely inspired by Geneva, Switzerland. Diabolik’s main opponent is Inspector Ginko, known only by his surname, a fierce and incorruptible police officer, always thwarted by astute tricks devised by Diabolik; the only other recurring character is Ginko's fiancée. Principal characters Diabolik - A legendary thief who follows an ancient code of conduct. Eva Kant - Diabolik's lover and accomplice, she is a skilled and ruthless criminal in her own right, their relationship begins as adversarial he becomes her abusive lover. In the series she is reimagined as Diabolik's partner and equal. Inspector Ginko - A determined and incorruptible Clerville police detective who attempts, unsuccessfully, to capture Diabolik on numerous occasions.
Secondary characters Altea - A titled heiress and Ginko's lover. King - The leader of a powerful criminal organization, he became Diabolik's foster father and trains him in the skills he will need as a criminal. King betrays Diabolik and plans to murder him, but the infallible criminal kills him first. Elisabeth "Tina" Gay - A nurse who becomes Diabolik's first love after meeting him in the hospital; when she discovers his true nature, she betrays him to the police. Diabolik drives her mad and Tina is confined to an asylum. Dr. Alberto Floriani - A famous neuropsychiatrist who treats Elizabeth Gay during her stay in the asylum and marries her. Part of Diabolik's assault on Elizabeth's sanity involves him visiting her in the hospital, disguised as Albert. Bettina - a girl who should become familiar with Diabolik and Eva, until she becomes like a daughter Gustavo Garian - son of a wealthy family, which will be decimated by Diabolik. However, in the first issues of the series, Diabolik carried out his heists in Marseilles, but the authors decided to invent a new city, so as to avoid having to do continual document