The birth and rise of popular Italian cinema since the early 1950s can be attributed purely to necessity. The vast number of genres, sub-genres, currents and crossovers and the way they have overlapped, died out or replaced each other has been an attempt, in postwar years, to contain the invasion of U.S. product while satisfying the demands the American industry had created in Italy. The author explores one of the most multi-faceted and contradictory industries cinema has ever known through the careers of those most closely associated with it. His recorded interviews were conducted with directors and actors both well-known and upcoming.

 The birth and rise of popular Italian cinema since the early 1950s can be attributed purely to necessity. The vast number of genres, sub-genres, currents and crossovers and the way they have overlapped, died out or replaced each other has been an attempt, in postwar years, to contain the invasion of U.S. product while satisfying the demands the American industry had created in Italy. The author explores one of the most multi-faceted and contradictory industries cinema has ever known through the careers of those most closely associated with it. His recorded interviews were conducted with directors and actors both well-known and upcoming.

This work is a detailed portrait of one of the most important, bustling and absurd industries that cinema has ever known: colorful essays and nine career-spanning interviews with Italian genre directors of the 1970s, such as Luigi Cozzi, Francesco Barilli, Lamberto Bava and more. The directors reflect on their successes, failures and experiences directing films in the Italian westerns, sci-fi and horror genres. Following the anecdotes, gossip and controversies of the industry, the essays employ critical analyses to fully unveil the Italian genre cinema, as well as its impact on films across the world.

This work is a detailed portrait of one of the most important, bustling and absurd industries that cinema has ever known: colorful essays and nine career-spanning interviews with Italian genre directors of the 1970s, such as Luigi Cozzi, Francesco Barilli, Lamberto Bava and more. The directors reflect on their successes, failures and experiences directing films in the Italian westerns, sci-fi and horror genres. Following the anecdotes, gossip and controversies of the industry, the essays employ critical analyses to fully unveil the Italian genre cinema, as well as its impact on films across the world.

In the fading atmosphere of the New Hollywood era, William Friedkin – the wunderkind director with an Academy Award for his cop drama, The French Connection (1971) who then scored an even bigger success with The Exorcist (1973) – began work on what would prove to be the most controversial film of his career: Cruising (1980). In the process he established a template for a sub-genre, the serial killer thriller, that would thrive long after his film had left theatres, having caused widespread offence among the very audience he'd hoped to appeal to, via a campaign mobilised by the counter-culture press. As such, Cruising can be read as a bitter farewell to the seventies and its cinema and industry. This Devil's Advocate dives deep into the phenomenon that is Cruising, examining its creative context and its protagonists, as well as examining its ongoing popularity as it turns 40 in 2020.