The 1960s brought a new zenith in Italian cinema, comparable to the peplum movies of the 1910s and the Neorealism after 1945, sometimes named the “Golden Age of Italian Cinema.” On the one hand it was a culmination of the auteur cinema, but on the other also a genuinely new step in genre cinema. In one year, 1960, Fellini’s La dolce vita, Antonioni’s L’avventura (The Adventure) and Visconti’s Rocco e i suoi fratelli (Rocco and His Brothers) arrived on the screen, followed in the next years and in the 1970s by other films of these directors, most of them of extraordinary quality and influential on world cinema. This is also the time of Ermanno Olmi, Francesco Rosi, Pier Paolo Pasolini, Gillo Pontecorvo, and Mauro Bolognini. In the same decade a very young new generation of directors entered the scene: Bernardo Bertolucci and Marco Belloccchio. The Commedia all’italiana continued its success at the box office; along with films by Monicelli and Risi were those by Pietro Germi, Luigi Zampa, and Vittorio De Sica, now often with a more satirical and bitter note. And finally, the 1960s gave birth to a new subgenre: the Italo-Western or Spaghetti-Western, and even the horror film and the sword-and-sandal movies had a strong revival. Thus, Italian film after 1960 was characterized by a quantitative enormous and aesthetically brilliant surge of productivity in all sectors of cinema.