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By Denis Gifford

Demanding hide booklet, accomplished review of the horror motion picture style. absolutely illustrated with nice photos.

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63 Similarly, in the 30 December 1911 issue of La Vita Cinematografica, the editors lamented the French company Pathè-Frères’ Film d’Arte Italiana, the Italian branch office modeled on its Film D’Art, and their “illogical” and poorly shot adaptations of Italian classics like Françoise de Rimini (1910) and praised Italian efforts to correct the situation: When, as we do, one suffers from that malady one calls patriotism, nothing is more painful than to see our great and beautiful nation, that was always the cradle of all the beautiful arts, lag behind in a manifestation of ingenuity and progress.

36 The rationale behind this structuring is to reinforce how films, particularly popular, ideologically loaded ones like the Maciste series, consistently interacted with forces beyond the screen’s parameters. In short, this study is only a beginning, and many avenues remain to be discovered and explored. Chapter 1, “The Birth of the Strongman: Italian Silent Cinema, Stardom, and Genre,” provides an overview of the cinematic and cultural panorama that set the stage for the emergence of the Maciste films.

Introduction: Why Maciste? 3. Postcard of Maciste. From the author’s personal collection. to the marketing and selling of film commodities and the focal point for vertical integration (in the United States), where the discursively constituted separation of character, actor, and star began to take form. Although this study focuses on Maciste’s relation to Italian cinema as a national cinema, most of the action takes place in one place: Turin. The northern city was Italy’s most industrialized, as well as the Italian 14 The Maciste Films of Italian Silent Cinema nation’s first capital in its modern state.

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