She Doesn’t Even Know She Made Them: Ambiguous Attribution in Italian Exploitation Films

Abstract Starting in the late 1950s, exploitation filmmakers operating in Italy sometimes used pseudonyms, allonyms or prestanomi . This article examines the multiplicity of motivations behind this practice, and attempts to untangle some of the implications of the use of pseudonyms in Italian exploitation cinema, especially as it relates to the complex dynamics of gender and nationality in the film production sector. It compares the case of the alias O. Hellman, which appears in a small number of exploitation films in the 1970s, with similar ones from that period, including ones in which the ambiguity of authorial attribution involves husband and wife teams – an ambiguity fascinatingly compounded by the protectionist measures of Italian film policy and the contradictory evidence of primary and secondary sources. Finally, the article reflects on the implications of this practice on data-based gender research in the Italian film industry.