Luchino Visconti

Texto en castellano

DE ESCIPIÓN A BERLUSCONI. UNA HISTORIA DE ITALIA EN 50 PELÍCULAS
Cuenta André Breton que, cuando el grupo surrealista acudía al cine, acostumbraba a entrar comenzada la proyección, y la abandonaba al poco tiempo para volver a irrumpir en otra sala, donde se exhibía otra película, en cualquier momento de la función. Al final de la jornada, las secuencias dispersas, cubiertos los huecos en la imaginación, iban construyendo en la memoria un nuevo argumento, a partir de la lógica irracional, fragmentaria y elíptica del inconsciente. Algo de la visión «sonámbula», y profundamente liberadora, que reivindicaba el surrealismo, subyace en el viaje por el imaginario histórico a través del cine italiano que recorre las páginas de este libro. Los autores proponen un itinerario punteado de elipsis, saltos, pasadizos subterráneos, flashbacks y flashforwards, un recorrido transhistórico que se apoya en el asincronismo entre el tiempo que señalan las tramas, a partir del cual se ha ordenado la selección de los films, y el de su producción y estreno en sala. En resumen, lo que este volumen plantea es una de tantas historias posibles de Italia —tantas como antologías probables— a través del objetivo de la cámara.

Francisco Giordano, Grand Hotel et De Milan (prefazione storica), in Grand Hotel et De Milan. Un secolo di storia milanese attraverso gli ospiti illustri del suo albergo più famoso, a cura di Gerri Bertazzoni, Daniela Bertazzoni e Alissia Mancino, ed. Franco Maria Ricci, 2003, Milano, stampa Grafiche Milani

The essays collected in this book focus on unusual relations and marginal objects, with the purpose to draw a portrait of Luchino Visconti less fossilized than that resulting from canonical authorial perspectives, and more vividly connected to both ideological clashes and the secular interests of cultural industry. These ten essays (five of which previously unpublished) cover neglected aspects (and the reasons of their removal) surfacing in sometimes extravagant aesthetic contrasts (between Hollywood and Thomas Mann, Greek theater and avant-garde, political commitment and popular cinema); in harmonies and dissonances in the collaborations with Marcello Mastroianni, Nino Rota and Helmut Berger; in the often gross comments of the extreme right-wing press; in the hostility of the Venice Film Festival; in the distortions produced by the lens of popular culture through political or even porn parodies, post-1968 ironies, and unexpected affinities with popular genres. What come out are new readings of films such as "White Nights", "Rocco and His Brothers", “Sandra", “Ludwig" and "Conversation Piece", but also a general revision of Visconti’s career.

"Cinema is the most powerful weapon " – Benito Mussolini's motto loomed in capital letters over the 1937 inauguration of the massive production hub being built in the outskirts of Rome, reminding the film industry what was expected of it. Notwithstanding the effort to deploy cinema as a key technology for governing the nation and the empire, in the early 1940s film became a battlefield for the Regime. This excavates from the closet of memory the story of the Cinema cell, the group of young film enthusiasts who, in fascist Italy, engaged in what today we would call " media activism " : they put their lives on the line, infiltrated the film industry, and shouldered the movie camera as their initial weapon of combat against a defiant totalitarianism. Here, I focus on how the underground formation elaborated an iteration of filmic realism that countered the implantation in the body politic of racialized fantasies of national identity. In tracing the cell's efforts to develop a gaze on the nation that would oppose the race-driven realism advocated by Mussolini's son Vittorio, among others, I establish a genealogy for Visconti's 1943 Ossessione and its display of queerness as the authentic alternative to fascist life. By way of conclusion, I disentangle the system of intimacy and affectivity harnessed by this film from the one that postwar neorealism contributed to securing.

Ancient greek tragedy notoriously provided director Luchino Visconti and his screenwriters with invaluable inspiration while they were writing "Vaghe stelle dell'Orsa..." ("Sandra"). Working on unpublished documents and collating six different versions of the screenplay, this essay aims to establish when and in which ways the three versions of the Atridis’s myth by Aeschylus, Sophocles and Euripides exactly influenced Visconti’s project and how they contributed to its basic ambiguity. At the same time, it shows the relevance of others suggestions of the antiquity, and in particular that of Etruscans inspired by Gabriele D’Annunzio’s novel "Forse che sì forse che no".

This paper proposes an approach of Luchino Visconti's cinema, at the frontier between psychology and aesthetics. Using two concepts related to the presence of the author in the work, self figuration and narcissism, we try to show the uniqueness, unity and persistence of Visconti's cinematographic style. The works and life on the Italian director are compared so as to show the tension of artistic creation and the difficult birth of a movie. The presence of the mirror, as main cinematic artifice in the movies of Visconti is also analyzed. As a conclusion, we propose a global new perspective on Visconti's artistic evolution, structured by the two main concepts of the article: self figuration and narcissism. Freudian psychoanalysis and its successive elaborations on narcissism provides the critical methodology used in this article.

... Announcements; Center for Italian Studies; FILIBRARY Series; Subscribe. Home > Vol 41, No 2 (2007) > Lerner. Font Size: Small Medium Large. Visconti's Senso: The Art of History. Giovanna Faleschini Lerner. Full Text: Subscribers Only.

This book is the first to establish the relevance of same-sex desires, pleasures and anxieties in the cinema of post-war Italy. It explores cinematic representations of homosexuality and their significance in a wider cultural struggle in Italy involving society, cinema, and sexuality between the 1940s and 1970s. Besides tracing the evolution of representations through both art and popular films, this book also analyses connections with consumer culture, film criticism and politics. It uncovers how complicated negotiations between challenges to and valorization of dominant forms of knowledge of homosexuality shaped representations and argues that they were not always the outcome of hatred but also sought to convey unmentionable pleasures and complicities. Through archival research and a survey of more than 600 films, the author enriches our understanding of thirty years of Italian film and cultural history.

Since its beginnings, Luchino Visconti’s career was characterized by scandals, controversies, censures and even seizures, as a consequence of a particularly reactionary context but also of a transgressive intention which found its main expression in the representation of alternative sexualities and masculinities. Through a large amount of unpublished documents preserved in various archives and among Visconti’s papers, this book aims to study this largely overlooked aspect of Visconti’s work in relation to its cultural context, focusing on five case studies: the staging of Marcel Achard’s “Adamo” (1945) and Giovanni Testori’s “L’Arialda” (1961), and the films “Ossessione” (1943), “Senso” (1954) and “Rocco e i suoi fratelli” (1960).

The acclaimed Italian directors Luchino Visconti and Federico Fellini had very different life trajectories that led them to become major figures in the history of cinema. Similarities, however, can be found in their debuts with the neorealist genre, their personalities, creative styles and politicocultural involvement, and ultimately in the neurological disease that struck them at the end of their careers. Both suffered a right-hemispheric stroke that left them hemiplegic on the left side. We review their life and career to put that event into perspective, and then discuss its aftermath for both artists in the light of our current knowledge of right-hemispheric functions. Visconti showed a tremendous resilience following the accident and managed to direct several films and plays as an infirm, whereas Fellini had to put an end to his career but still was able to display his talents to the neuropsychologists that treated him. A speculative account is given of the links between right-hemispheric symptomatology and the premorbid personality of these highly prolific patients.

„Ta pusta moja małżowina / pomnik na łóżku”  – pisał w jednym ze swoich wierszy Białoszewski, opisując odciśniętą w pościeli wklęsłą rzeźbę, jaką pozostawia po sobie każdego poranka. Unieobecnienie samego siebie pozwalało mu uczynić widzialnym to, co stanowiło dla niego oparcie i na czym jednocześnie odciskał swe piętno. Próbą stworzenia takiego wklęsłego pomnika ma być ten tekst, w którym zamierzam dokonać operacji teoretycznego wyjęcia figury Białoszewskiego ze środowiska, w którym funkcjonował i opisania kształtu, w jaki układała się sieć punktów styku pomiędzy nim, a tym, co sobą przysłaniał. Bohaterem tej pracy będzie więc Białoszewski paradoksalnie jedynie w tej mierze, w jakiej opowiedzą o nim jego związki z kryjącymi się zazwyczaj w jego cieniu przyjaciółmi reprezentującymi przeoczoną przez historyków literatury grupę kobyłecką.
Odwrotnie niż w przypadku Białoszewskiego, marginalizacja, której doświadczali kobyłeccy poeci, daje się postrzegać jako prosta konsekwencja ich artystycznych decyzji. Swoją działalność skoncentrowali bowiem na opisywaniu wszystkiego, co zwykle niedostrzegane i pomijane jako z rozmaitych względów wykluczone poza nawias społeczeństw i dziejów. Ponadto by przywrócić temu widzialność, sięgali po środki wyrazu, których dotąd nie uznawano za przynależne sztuce. Twórczość ta podlega więc wykluczeniu niejako podwójnie – z uwagi na treść i na formę, co w terminologii francuskiego socjologa Pierre’a Bourdieu  można określić jako wykluczenie marginalizowanych grup społecznych z pola władzy i marginalizowanych języków z pola produkcji kulturowej. Badacz ten przy pomocy pojęcia pól definiował wzajemnie na siebie wpływające segmenty struktury społecznej, w ramach których toczy się między jednostkami nieustanna walka o dominację. By osiągnąć sukces w dowartościowaniu tego, co w danym polu aktualnie lekceważone, członkowie grupy kobyłeckiej musieliby ogłosić się rewolucjonizującą to pole awangardą, ona jednak ma do siebie to, że krocząc naprzód, zdolna jest zwykle zmieniać jedynie swój własny status (w obrębie pola produkcji kulturowej), zostawiając w tyle to, co chciała reprezentować. Ambicją zaś tamtej grupy, jak się zdaje, nie było autorytatywne wytyczanie nowych ścieżek w charakterze „przedniej straży”, lecz permanentne „wycofywanie się” jako poszukiwanie „linii ujścia”  – dostępnych na wyciągnięcie ręki działań alternatywnych, wynajdywanych wciąż na nowo w ruchomych układach zmieniającej się rzeczywistości.
Tak pojętej twórczości nie sposób oddzielić od życiowej postawy, każe się ona rozpatrywać jako forma działania w rzeczywistości. Znacznie bardziej adekwatne do jej opisu wydają się więc pojęcia wypracowane w polu szeroko pojętych nauk społecznych, którymi w niniejszej pracy proponuję zastąpić niezdolne do uchwycenia fenomenu grupy kobyłeckiej kategorie estetyczne, jakimi posługuje się tradycyjna historia literatury. Tam, gdzie literaturoznawstwo grzęźnie w teoretycznych sprzecznościach, spojrzenie antropologiczno-socjologiczne uczy dostrzegać podyktowane praktyką życiową „tylne wyjście”.

In the shadow of the transgressive heritage of Fellini's "La dolce vita", in 1960 "Rocco e i suoi fratelli” ("Rocco and His Brothers") provoked an institutional uproar, in unprecedented forms, in months of delicate political transition. The scandal involved the press, censorship, politics and even the magistracy. Thanks to new unpublished documents and a refining of its philological analysis, this new edition of the book (originally published in 2011) further develop its ideas about the production, the literary sources (particularly Giovanni Testori’s short stories), the reception, and the cultural context of Visconti’s most controversial, complex and admired film.

Genere ambiguo e sfuggente, che lega desiderio e soggettività, discorso amoroso e pulsione di morte, il melodramma è presente nel cinema italiano fin dagli albori, seppure con modi e intensità differenti.
Invasivo, magniloquente e a tratti silenzioso, si attesta in modo stabile nella produzione nazionale con riprese d’autore, infiltrazioni nel tessuto della modernità, recenti ritorni di maniera, e riflessioni che consapevolmente guardano alla realtà contemporanea.
Attraverso una serie di puntuali analisi filmiche, il volume offre una singolare cartografia del melodramma cinematografico italiano, tratteggiando un paesaggio franto e diseguale dove si alternano apici di alta e dirompente popolarità, e momenti di esistenza più discreta ed episodica. Ne emerge una mappa variegata e policentrica che racconta come il melodramma – con la moltitudine di fantasmi filmici che questa parola scivolosa e lievemente rétro evoca – ha abitato e abita l’intera parabola del cinema italiano.

This book is the first to establish the relevance of same-sex desires, pleasures and anxieties in the cinema of post-war Italy. It explores cinematic representations of homosexuality and their significance in a wider cultural struggle in Italy involving society, cinema, and sexuality between the 1940s and 1970s. Besides tracing the evolution of representations through both art and popular films, this book also analyses connections with consumer culture, film criticism and politics. Giori uncovers how complicated negotiations between challenges to and valorization of dominant forms of knowledge of homosexuality shaped representations and argues that they were not always the outcome of hatred but also sought to convey unmentionable pleasures and complicities. Through archival research and a survey of more than 600 films, the author enriches our understanding of thirty years of Italian film and cultural history.
The downloadable file includes the front matters and the introduction.

IL LIBRO, USCITO NEL 2012, svolge in quattro pannelli il tema della gioventù, così come fu inteso dalle generazioni degli anni Dieci e anni Venti del Novecento italiano. Incrociando e mettendo in dialogo discipline e linguaggi diversi, per esempio letteratura e cinema, la prima parte è dedicata al rapporto di Bilenchi con il fascismo (attraverso i suoi racconti e romanzi); il secondo a uno dei romanzi più belli e dimenticati della Resistenza: "Fausto e Anna", di Carlo Cassola; il terzo a Paesi tuoi, di Pavese, e a "Ossessione" di Visconti, e ai modi in cui il cinema americano degli anni Trenta e Quaranta dialogo con la scrittura europea; il quarto pannello, infine, all'idea di patria così come è svolta nella poesia di Pasolini.

O livro de Denilson Lopes desenvolve, em uma perspectiva sócio-histórica e transdisciplinar, a relação entre melancolia e neo-barroco. A melancolia – sensibilidade estética, catastrófica, antiutópica – se define pela aflição diante da passagem do tempo. Trata-se de uma sensibilidade cristalizada como um imaginário no período barroco e que retorna na segunda metade do século 20 como neo-barroco.
Dentro da fragmentação do texto é possível vislumbrar cinco partes: neo-barroco, camp, dandismo, viagens e leveza. E para sua análise o autor escolheu três romances – A Menina Morta, de Cornelio Penna, Crônica da Casa Assassinada, de Lúcio Cardoso, e Ópera dos Mortos, de Autran Dourado – e quatro filmes – O Leopardo, Ludwig e Violência e Paixão, de Luchino Visconti, e Salão de Música, de Satyajit Ray.
A partir das categorias tempo, espaço e subjetividade, a obra é realizada por duas mediações: a imagem material, poética e cronotópica da casa como ruína, labirinto, teatro do mundo (espetáculo e artificialidade); e o personagem alegórico dos herdeiros e príncipes despojados de poder. Linhagem que inclui os poetas ultra-românticos, os dândis decadentistas, os punks góticos e todos aqueles que não se adequam ao império da velocidade e efemeridade contemporâneas. Os que delicadamente se afastam do centro das atenções.
Os romances traduzem uma tradição do Barroco no Brasil, distinta da expressa na literatura hispano-americana contemporânea. Já os filmes, ao diluir ou perverter as fronteiras entre cinema clássico e moderno, constituem um solo sobre o qual pode ser pensada uma narrativa de pós-vanguarda.
Para além de interesses acadêmicos, o livro é um acerto enviesado e pessoal com os anos 80, uma viagem pela dor e pela solidão, um confronto com a fugacidade dos afetos e uma busca quase desesperada de beleza e leveza. Para Denilson Lopes, a melancolia constitui, neste fim de século, uma porta de entrada para repensar nossa época por meio da arte, o que levaremos para o próximo milênio, o que queremos.
Silviano Santiago escreve a respeito de Nós os mortos: “A melancolia foi tomada no belo trabalho de Denilson não como tema objetivo extraído de textos teóricos e de obras artísticas, mas como matéria para um narrador em primeira pessoa escrever uma prosa ficcional erudita. Para evitar o suicídio da estirpe dos melancólicos, exige-se a autocontemplação estilizada dos pares. A pulsão de morte do narrador neutraliza a pulsão de vida do leitor. Nós os mortos. “O que somos sem essa pedagogia da morte?” – o narrador pergunta

aqui começa a viagem de pensar uma genealogia da melancolia a partir do Barroco e pensar um outro neobarroco em romances brasielrios em diálogos com filmes europeus que se distinguem da tradição hispano-americana, propondo uma caminho diferente de Carpentier/Lezama Lima/Sarduy/Perlongher

"Estamos diante de Morte de Veneza de Luchino Visconti, uma ópera de olhares, que nos fazem transitar por textos de Silviano Santiago e de Roland Barthes, por poemas de Sandro Penna, Valdo Mota, Mario de Andrade, Roberto Piva, Antonio Cicero, Cazuza, Kaváfis, Luis Nava, Ítalo Italo Moriconi...:
Volto o filme. Olho uma vez mais o rosto de Tadzio imobilizado no vídeo. Levanto da poltrona. Desejo tocá-lo. Não consigo evitar as lágrimas. Desligo a televisão. Tela escura. Sozinho em casa. O céu de Brasília é um oceano. Já não penso mais em Tadzio, nem em tantos outros rapazes que não cessam de passar pela minha vida. As imagens vão se misturando. Os nomes se apagando. Durmo um pouco. Pensei que fosse pouco. Mas a noite já terminava. Não há ruídos na casa. Não há ninguém. Apenas o dia querendo nascer."

Este libro da testimonio del trabajo investigativo de un grupo de jóvenes compositores con una completa formación teórica, técnica y musical que culminó un proceso formativo de muchos años de intenso estudio. Para la elaboración de cada uno de los artículos los autores han seleccionado aquellos aspectos más relevantes de cada uno de sus trabajos de investigación fin de carrera dentro del ámbito de los estudios de “Composición para Medios Audiovisuales” realizados en el Real Conservatorio Superior de Música de Madrid y dirigidos por el compositor y profesor Alejandro Román. Los nueve ensayos que en este volumen se presentan abordan diferentes aspectos de la música aplicada al cine, tanto desde puntos de vista psicológicos, instrumentales y técnicos, pasando por los distintos usos dependiendo de los géneros cinematográficos, ya sean el “thriller”, la “ciencia ficción” o el cine “místico”, e incluso el uso de músicas cultas preexistentes que aportan nuevos significados entrando a formar parte de las películas. El texto, por tanto, constituye una buena muestra de la excelencia de las nuevas generaciones de músicos, que va más allá de la práctica musical, tanto en su faceta interpretativa como compositiva, en la cual el pensamiento a través de la investigación va a aportar, en este caso a la teoría musical cinematográfica, nuevos puntos de vista desde la propia práctica musical, nuevas perspectivas que ahondarán en las intrincadas mazmorras de la comprensión de la música desde la propia música entendida y explicada por los propios músicos.

CONTENIDO:

Prólogo: La enseñanza de la composición musical cinematográfica en España, por Alejandro Román

I. Mecanismos fílmicos: aspectos técnicos y psicológicos
La aparente contradicción entre música e imagen en el cine, por Juan Antonio César Benavides
La voz como instrumento musical en la banda sonora cinematográfica, por Juan Manuel Conejo
Dos versiones para "Piclepocket": Estudio estadístico de la percepción musical en un film, por Carlos Martínez de Ibarreta Zorita

II. Música y géneros cinematográficos
Sonido y suspense en Alfred Hitchcock: Música versus efectos de sonido, por María Cristina Pascual Noguerol
La música en el cine de ciencia-ficción: paradigmas del "viejo" y el "nuevo" estilos, por Miguel Prida
Éxtasis, música e imagen: vínculos entre la mística y la creación audiovisual, por Marcos Ortiz Casas

III. Música culta en el cine
Función y significado musivisual del Adagietto de la 5a sinfonía de Mahler en `Muerte en Venecia'; por Alejandro Román
Presencia e influencia de la música culta del siglo XX en el cine, por José Luis Centeno

IV. Música y cine: trabajos de investigación
Investigación musical cinematográfica: publicaciones y bibliografía especializada sobre música de cine en España, por Alejandro Román

Anexo: Trabajos de Investigación dirigidos en el RCSMM

Neorealism emerged as a cultural exchange and a field of discourse that served to shift the confines of creativity and revise the terms of artistic expression not only in Italy but worldwide. If neorealism was thus a global phenomenon, it is because of its revolutionary portrayal of a transformative moment in the local, regional, and national histories of Italy. At once guiding and guided by that transformative moment, neorealist texts took up, reflected, and performed the contentious conditions of their creation, not just at the level of narrative content but also in their form, language, and structure. Italian Neorealism: A Cultural History demonstrates how they did so through a series of representative case studies. Recounting the history of a generation of artists, this study offers fundamental insights into one of the most innovative and influential cultural moments of the twentieth century.

Luchino Visconti’s 1943 film Ossessione is considered one of the earliest examples
of Italian neorealist films even though it doesn’t reflect all its conventions. On the other
hand, one can notice elements of the American film noir tradition. Both are styles emerging after the Second World War as an expression of the collective consciousness and traumas. This paper examines Ossessione as a great film to study the edges of film noir in an international context implemented near the beginnings of a groundbreaking movement in Italian cinema.

El presente trabajo se propone analizar la trasposición al cine, realizada  por el director Luchino Visconti de la novela La muerte en Venecia de Thomas  Mann. La hipótesis principal es que el desplazamiento más importante que  opera el film en relación a la novela es el lugar que ocupa el sonido. Esto último  explica que el personaje en la película sea músico en lugar de escritor. Tal  desplazamiento refuerza retroactivamente determinados aspectos y marcas  enunciativas ya presentes en la novela.

This research about historical arthouse film tries to broaden the discourse about historical film. Therefore, we closely examined four films: Aguirre, the Wrath of God by Werner Herzog, Ludwig by Luchino Visconti, Andrei Rublev by Andrei Tarkovsky and Electra, My Love by Miklós Jancsó.

Historical films always contain fiction next to facts. Even if the emphasis is more on fictional elements, these films too tell something about the past. When analysing historical arthouse films and their relation to history, it is not sufficient to limit the research to a factual comparison between historical facts and their filmic use. Not only does the historical background knowledge play an important role in the reading of a film as a comment upon history; filmic parameters can also heavily influence the nature of the historical vision. To cover the multiple determining factors and their mutual relation, we created and used the concept of ‘historising lecture’. Due to the nature of arthouse film, an important role was also assigned to intermediality. Our exploration of the use of or references to other historical facts, not related to the main topic, or cultural expressions, has not only shown that intermediality is more diverse than an intertextual relation between source and text, but also – even more importantly – that the kind and range of allusions demands a close examination of the references used, their historical, social and/or cultural meaning and the possible influence on the meaning and historising lecture of arthouse film.
What historical arthouse films tell us about history is not only determined by direct references to history. Filmic elements, the role and background of the viewer and intermediality also determine the image of history that is created. Our dynamic analytical model, where history, intermediality and filmic language are intertwined, offers a new vision on the possibilities and merits of historical arthouse film.

El artículo analiza la película La terra trema (Luchino Visconti, Italia, 1948), su representación del mundo del trabajo de los pescadores sicilianos, las vivencias de Visconti en torno al film, así como las lecturas y debates estéticos y políticos que acarreo a lo largo de la historia.
M.Mestman, “Pescadores sicilianos en las redes del Conde Rojo milanés”. Publicado en el libro: Máximo Eseverri (coord.), Raab/Visconti. La tierra tiembla. Buenos Aires, Eudeba, 2011; ps. 180-207.

Der Zweite Weltkrieg hinterließ neben einem Europa in Trümmern auch ein Vakuum an der Stelle jener Ideologien, in deren Zeichen sich die Massengesellschaften bis dahin formiert hatten. Vor diesem Hintergrund wirft die vorliegende Studie die Frage auf, wie sich das westeuropäische Kino der Nachkriegszeit als ein demokratisches Kino neu zu begründen versuchte. Die Perspektive ist dabei eine zweifache: zum einen liegt der Fokus auf dem italienischen Kino, das mit den Filmen des Neorealismus eine Leitidee für das westeuropäische Nachkriegskino insgesamt stiftete, zum anderen auf der kinematografischen Konstruktion der Großstadt, die als der paradigmatische Ort der Massengesellschaft gelten kann.

In the 60s and 70s, Visconti consistently continues his transgressive work, mostly through the representation of alternative sexualities and masculinities. Nonetheless, the fast transformation of society, culture and politics, not to mention cinema itself, provokes a radical change in the discourses surrounding his works from "Il Gattopardo" ("The Leopard", 1963) to ‘"L'innocente" ("The Innocent", 1976). This book puts in context the films directed by Visconti in these years thanks to an extensive archival research and a philological analysis of Visconti's papers.

This paper  analyses the reception of the myth (Greek tragedies) of Electra in "Vaghe Stelle dell´Orsa", a film by Luchino Visconti.

Free access:
https://repositorio.unesp.br/bitstream/handle/11449/126235/ISBN9788579835643.pdf?sequence=1&isAllowed=y

In order to read Luchino Visconti’s artistic experience from a performative point of view, we need to consider his constant aim to shock as an essential part of his work instead of an occasional corollary of it. This is true both with his films and with his stage productions. "Adamo" (1945) and "Rocco and His Brothers" (1960) offer two examples out of many.

Lo scopo dell’elaborato è illustrare come il modo di vedere l’ambiente e il paesaggio del Sud Italia si sia evoluto nel panorama cinematografico italiano. In particolare ci si focalizzerà sul periodo del secondo dopoguerra, momento in cui viene realizzato un film paradigmatico per la rappresentazione di questo tema: La terra trema di Luchino Visconti.