neither/nor


and Mondo Freudo (both 1966), before moving on to Nazisploitation and other greener pastures. Mammary gland enthusiast Russ Meyer immortalized performers of the San Francisco shimmy-shake circuit in his Mondo Topless of 1966, which appeared as “Mondo” had entered popular parlance, inviting the parody of John Waters’s early Mondo Trasho (1969). Jacopetti and Prosperi’s onetime partner, Paolo Cavara, struck off on his own with Malamondo (1964) and L’occhio selvaggio (Te Wild Eye, 1967), the latter a fiction effort widely seen as a swipe at his old associates and their much-publicized troubles with the release of Africa Addio.


mondo cinema and beyond 1960s — 1980s


Despite the potential for bad blood existing in any


artistic collaboration, the most prolific successful Mondo filmmakers of the following decade would work in tandem—a circumstance perhaps demanded by the globe-spanning ambitions of the genre. Angelo and Alfredo Castiglioni, two brothers from Lombardy, would make a total of five dispatches from Africa, beginning with their 1969 collaboration with Guido Guerrasio, Africa segreta (Secret Africa). Antonio Climati, Jacopetti and Prosperi’s trusted cinematographer who worked with them through their penultimate collaboration, Addio Zio Tom, would become something like their heir


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