Sweet & Savage  

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"He skips off back to the castle and we are back where we started on his metaphysical journey, older if not wiser. Although considered a failure, artistically and conceptually, Mondo Candido still enjoys a strange allure. There are still glimpses of the Jacopetti and Prosperi spirit in this unforgettable overblown, Technicolor indulgence."--page 42, Sweet & Savage (2006) by Mark Goodall

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Sweet & Savage: The World Through the Shockumentary Film Lens (2006) is a book on the shockumentary genre by Mark Goodall published by Headpress.

Blurb:

The first ever English-language title devoted,exclusively to the shocking, controversial and,influential mondo documentary film cycle, this is,a one-of-a-kind book. Mondo Cane in 1962 was the,blueprint for a new breed of documentary film,cycle. Collectively known as ""mondo films"", or,""shockumentaries"", this enduring series of films,was a powerful precursor to the reality TV shows,so prevalent today. A study of Mondo as a global,phenomenon, Sweet & Savage includes a detailed,examination of the key films and exclusive,interviews with the godfathers of this cult genre.

Table of contents

  1. "See the world in the raw" Mondo As Document
  2. "Every scene looks you in the eye—and spits" Mondo & Shock Cinema
  3. "He used a camera like most men use a woman" Voyeurism And Sexuality In The Mondo Film
  4. "Sensational shock scenes "Anti-Narrative In Mondo
  5. "Every incredible scene is real!" The Frame Of Mondo
  6. "A slow-motion hymn to killing" Animals In Mondo Film
  7. "Unspeakable cults, erotic rites" Mondo Magic And Ritual
  8. Acknowledgements
  9. Foreword by Jeremy Dyson
  10. Introduction The Act of Seeing with One's Own Eyes
  11. An Exhibition of Atrocities J.G. Ballard on Mondo Films
  12. Appendix I "bittersweet symphonies of death"
  13. The Mondo Soundtrack
  14. Appendix II Considerations
  15. on the Mondo Film by Gualtiero Jacopetti
  16. Bibliography
  17. Filmography

Bibliography

BIBLIOGRAPHY There are only two books on film that to my mind are absolutely essential reading. The first is The Macmillan International Film Encyclopedia edited by Ephraim Katz which is the ultimate reference tool: detailed, precise and written with immense clarity. The second is Amos Vogel's Film as a Subversive Art, a unique and brilliantly written text capturing the thrilling, visceral excitement of great cinema. In an age when the use of film as advertising rather than film as art has massively accelerated, Vogel's words are beautiful, inspiring and essential.

Books

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