With Supranational Horrors: Italian and Spanish Horror Cinema since 1968, Rui Trindade Oliveira offers a distinctive contribution to the understanding of horror films made in those countries during key eras of production. By acknowledging the importance of co-production, he is able to introduce an intriguing model, that of the Italian-Spanish supranational horror film, that offers a fresh way of approaching this body of work. Always conscious of their specificity, Trindade Oliveira’s approach deftly moves away from the idea of national cinema to explore the industrial, cultural, and aesthetic intersections that link Spanish and Italian horror productions.
— Andy Willis, University of Salford
In Supranational Horrors: Italian and Spanish Horror Cinema since 1968, Rui Trindade Oliveira provides valuable insight and offers first-rate analysis of a genre long shared between two nations with cultural similarities. Trindade Oliveira skillfully carves out a niche of Mediterranean horror and in doing so has created a fine addition to the body of existing scholarship
— Nicholas G. Schlegel, Alfred University and author of Sex, Sadism, Spain, and Cinema: The Spanish Horror Film
Whether as a fan or a scholar, you need to know your Italian giallos from your Spanish giallos, the significant role of home video technology in discussions of Italian and Spanish horror film traditions, and, above all, the distinctive flavour of ‘Italian-Spanishness’ horror in the broader context of European horror cinema. Supranational Horrors: Italian and Spanish Horror Cinema since 1968 covers all these areas and much more. Culturally sensitive and historically informed, this volume provides a comprehensive mapping of the confluences, interconnections and differences between Italian and Spanish horror films through close readings of key representative films of the last fifty years.
— Antonio Lázaro-Reboll, University of Kent
With this book, Rui M. Trindade Oliveira provides a lively examination of Spanish and Italian horror cinema since the late 1960s. Drawing on numerous case-studies, ongoing debates around ‘the national’, ‘transnational’ and beyond, industry and textual analysis, Oliveira convincingly argues that there is much to be gleaned from appraising the horror cinemas of Spain and Italy not as distinct entities but, collectively, as an example of supranational film production.
— Johnny Walker, Northumbria University