The purpose of this article is to engage, from an industrial perspective, with Italian cinema’s concept of filone (a near equivalent of genre) by analysing the production and distribution of two of the most popular and successful Italian films at the box office: Lo chiamavano Trinità (They Call Me Trinity, Enzo Barboni, 1970) and its sequel Continuavano a chiamarlo Trinità (Trinity is Still My Name, Enzo Barboni, 1971). Produced by Italo Zingarelli’s West Film, the two films represented, on the one hand, a departure from consolidated Spaghetti Western violent tropes in order to offer a family friendly form of entertainment. On the other hand, they represented the pinnacle of the bottom-up/low budget production strategy characteristic of the heyday of the Italian genre factory. The article argues that a contextualisation of the two films within the Spaghetti Western filone, alongside an analysis of Zingarelli’s work as producer and distributor, is revealing of the ambition of Italian producers of the period and the role played by regional distribution in the development of filoni and a cinema of imitation.

中文翻译：

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另一种意大利面西部：Italo Zingarelli 和 TRINITÀ FILMS 的制作

本文的目的是通过分析票房上两部最受欢迎和最成功的意大利电影的制作和发行，从工业角度探讨意大利电影的 filone（几乎相当于流派）的概念：Lo chiamavano Trinità（他们称我为 Trinity，Enzo Barboni，1970）及其续集 Continuavano a chiamarlo Trinità（Trinity 仍然是我的名字，Enzo Barboni，1971）。这两部电影由 Italo Zingarelli 的 West Film 制作，一方面代表了对统一的意大利西部暴力比喻的背离，以提供一种家庭友好的娱乐形式。另一方面，他们代表了意大利流派工厂鼎盛时期特有的自下而上/低预算制作策略的顶峰。