Luchino Visconti And The Fabric Of Cinema

Author: Joe McElhaney
Editor: Wayne State University Press
ISBN: 0814343090
File Size: 15,12 MB
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Unveilsthe metaphoric and theoretical possibilities of fabric in the films of Luchino Visconti.

Historical Dictionary Of Italian Cinema

Author: Gino Moliterno
Editor: Rowman & Littlefield Publishers
ISBN: 153811948X
File Size: 49,22 MB
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This second edition of Historical Dictionary of Italian Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major movements, directors, actors, actresses, film genres, producers, industry organizations and key films.

Luchino Visconti

Author: Geoffrey Nowell-Smith
Editor: Bloomsbury Publishing
ISBN: 1838716963
File Size: 61,64 MB
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Aristocrat and Marxist, master equally of harsh realism and sublime melodrama, Luchino Visconti (1906-1976) was without question one of the greatest European film directors. His career as a film-maker began in the 1930s when he escaped the stifling culture of Fascist Italy to work with Jean Renoir in the France of the Popular Front. Back in his native country in the 40s he was one of the founders of the neo-realist movement. In 1954, with Senso, he turned his hand to a historical spectacular. The result was both glorious to look at and a profound reinterpretation of history. In Rocco and His Brothers (1960) he returned to his neo-realist roots and in The Leopard (1963), with Burt Lancaster, Claudia Cardinale and Alain Delon, he made the first truly international film. He scored a further success with Death in Venice (1971), a sensitive adaptation of Thomas Mann's story about a writer (in the film, a musician) whose world is devastated when he falls in love with a young boy. A similar homo-erotic theme haunts Ludwig (1973), a bio-pic about the King of Bavaria who prefers art to politics and the company of stableboys to the princess he is supposed to marry. Geoffrey Nowell-Smith's classic study of the director was first published in 1967 and revised in 1973. It is now updated to include the last three films that Visconti made before his death, together with some reflections on the 'auteur' theory of which the original edition was a key example.


Author: Henry Bacon
Editor: Cambridge University Press
ISBN: 9780521599603
File Size: 34,76 MB
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The first thorough study of the Italian filmmaker, Luchino Visconti.

Film Theory

Author: Philip Simpson
Editor: Taylor & Francis
ISBN: 9780415259736
File Size: 15,28 MB
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This major new collection identifies the critical and theoretical concepts which have been most significant in the study of film and presents a historical and intellectual context for the material examined.

Visconti And The German Dream

Author: David Huckvale
Editor: McFarland
ISBN: 0786492759
File Size: 38,93 MB
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Luchino Visconti’s trilogy of films Ludwig, Death in Venice and The Damned explore the complex relationship between the themes and ideals of German Romanticism and their impact on the catastrophe of the Third Reich. The personality and works of Richard Wagner to a large extent epitomize German Romanticism as a whole, while the writings of Thomas Mann and Friedrich Nietzsche provide the greatest critique of this dark and troubled but sublime and emotionally overwhelming culture. Along with contrasting approaches to this subject by other filmmakers such as Hans-Jürgen Syberberg, Ken Russell and Tony Palmer, this book explores how the preoccupations of the German Romantic movement led to Nazism, and contrasts the ways in which filmmakers have presented this continuum. The book also discusses the impact of Wagner’s musical dramas on the art form of the cinema itself.

Italian Neorealism

Author: Mark Shiel
Editor: Wallflower Press
ISBN: 9781904764489
File Size: 38,28 MB
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Italian Neorealism: Rebuilding the Cinematic City is a valuable introduction to one of the most influential of film movements. Exploring the roots and causes of neorealism, particularly the effects of the Second World War, as well as its politics and style, Mark Shiel examines the portrayal of the city and the legacy left by filmmakers such as Rossellini, De Sica, and Visconti. Films studied include Rome, Open City (1945), Paisan (1946), The Bicycle Thief (1948), and Umberto D. (1952).

Beyond The Bottom Line

Author: Andrew Spicer
Editor: Bloomsbury Publishing USA
ISBN: 1441162887
File Size: 19,26 MB
Format: PDF
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This is the first collection of original critical essays devoted to exploring the misunderstood, neglected and frequently caricatured role played by the film producer. The editors' introduction provides a conceptual and methodological overview, arguing that the producer's complex and multifaceted role is crucial to a film's success or failure. The collection is divided into three sections where detailed individual essays explore a broad range of contrasting producers working in different historical, geographical, generic and industrial contexts. Rather than suggest there is a single type of producer, the collection analyses the rich variety of roles producers play, providing fascinating and informative insights into how the film industry actually works. This groundbreaking collection challenges several of the conventional orthodoxies of film studies, providing a new approach that will become required reading for scholars and students.

Three Screenplays White Nights

Author: Luchino Visconti
File Size: 76,59 MB
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Opera On Stage

Author: Mercedes Viale Ferrero
Editor: University of Chicago Press
ISBN: 9780226045917
File Size: 72,68 MB
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The History of Italian Opera marks the first time a team of expert scholars has worked together to investigate the Italian operatic tradition in its entirety, rather than limiting its focus to individual eras or major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon-resulting in the sort of panoramic view critical to a deep and fruitful understanding of the art. Opera on Stage, the second book of this multi-volume work to be published in English-in an expanded and updated version-focuses on staging and viewing Italian opera, from the court spectacles of the late sixteenth century to modern-day commercial productions. Mercedes Viale Ferrero describes the history of theater and stage design, detailing the evolution of the art well into the twentieth century. Gerardo Guccini does the same for stage and opera direction and the development of the director's role as an autonomous creative force. Kathleen Kuzmick Hansell discusses the interrelationships between theatrical ballet and Italian opera, from the age of Venetian opera to the early twentieth century. The visual emphasis of all three contributions is supplemented by over one hundred illustrations, and because much of this material-on the more "spectacular" visual aspects of Italian opera-has never before appeared in English, Opera on Stage will be welcomed by scholars and opera enthusiasts alike.

Re Viewing Fascism

Author: Jacqueline Reich
Editor: Indiana University Press
ISBN: 9780253215185
File Size: 55,10 MB
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When Benito Mussolini proclaimed that "Cinema is the strongest weapon," he was telling only half the story. In reality, very few feature films during the Fascist period can be labeled as propaganda. Re-viewing Fascism considers the many films that failed as "weapons" in creating cultural consensus and instead came to reflect the complexities and contradictions of Fascist culture. The volume also examines the connection between cinema of the Fascist period and neorealism--ties that many scholars previously had denied in an attempt to view Fascism as an unfortunate deviation in Italian history. The postwar directors Luchino Visconti, Roberto Rossellini, and Vittorio de Sica all had important roots in the Fascist era, as did the Venice Film Festival. While government censorship loomed over Italian filmmaking, it did not prevent frank depictions of sexuality and representations of men and women that challenged official gender policies. Re-viewing Fascism brings together scholars from different cultural and disciplinary backgrounds as it offers an engaging and innovative look into Italian cinema, Fascist culture, and society.


Author: Robyn Karney
Editor: DK Publishing (Dorling Kindersley)
File Size: 77,84 MB
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Contains key movie events, facts, figures, stills, studio portraits, behind-the-scene photographs, and classic posters.

Music In The Castle

Author: F. Alberto Gallo
Editor: University of Chicago Press
ISBN: 9780226279688
File Size: 45,44 MB
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Writing for general readers and specialists alike, Gallo illuminates the artistic, cultural, social, and political dimensions of secular music, vocal and instrumental. His account also sheds new light on the potent influence of French culture in Italian courtly life.


Author: Alexander García Düttmann
Editor: Stanford University Press
ISBN: 0804757402
File Size: 41,68 MB
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Through an analysis of the works of Italian filmmaker Luchino Visconti, García Düttmann explores the insight that it is never the real but always the possible that blocks the path to change.

The Cinema Of Italy

Author: Ruth Ben-Ghiat
Editor: Wallflower Press
ISBN: 9781903364987
File Size: 20,20 MB
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Giorgio Bertellini examines the historical and aesthetic connections of some of Italy's most important films with both Italian and Western film culture.

Follies Of God

Author: James Grissom
Editor: Vintage
ISBN: 1101874651
File Size: 78,49 MB
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An extraordinary book; one that almost magically makes clear how Tennessee Williams wrote; how he came to his visions of Amanda Wingfield, his Blanche DuBois, Stella Kowalski, Alma Winemiller, Lady Torrance, and the other characters of his plays that transformed the American theater of the mid-twentieth century; a book that does, from the inside, the almost impossible—revealing the heart and soul of artistic inspiration and the unwitting collaboration between playwright and actress, playwright and director. At a moment in the life of Tennessee Williams when he felt he had been relegated to a “lower artery of the theatrical heart,” when critics were proclaiming that his work had been overrated, he summoned to New Orleans a hopeful twenty-year-old writer, James Grissom, who had written an unsolicited letter to the great playwright asking for advice. After a long, intense conversation, Williams sent Grissom on a journey on the playwright’s behalf to find out if he, Tennessee Williams, or his work, had mattered to those who had so deeply mattered to him, those who had led him to what he called the blank page, “the pale judgment.” Among the more than seventy giants of American theater and film Grissom sought out, chief among them the women who came to Williams out of the fog: Lillian Gish, tiny and alabaster white, with enormous, lovely, empty eyes (“When I first imagined a woman at the center of my fantasia, I . . . saw the pure and buoyant face of Lillian Gish. . . . [She] was the escort who brought me to Blanche”) . . . Maureen Stapleton, his Serafina of The Rose Tattoo, a shy, fat little girl from Troy, New York, who grew up with abandoned women and sad hopes and whose job it was to cheer everyone up, goad them into going to the movies, urge them to bake a cake and have a party. (“Tennessee and I truly loved each other,” said Stapleton, “we were bound by our love of the theater and movies and movie stars and comedy. And we were bound to each other particularly by our mothers: the way they raised us; the things they could never say . . . The dreaming nature, most of all”) . . . Jessica Tandy (“The moment I read [Portrait of a Madonna],” said Tandy, “my life began. I was, for the first time . . . unafraid to be ruthless in order to get something I wanted”) . . . Kim Stanley . . . Bette Davis . . . Katharine Hepburn . . . Jo Van Fleet . . . Rosemary Harris . . . Eva Le Gallienne (“She was a stone against which I could rub my talent and feel that it became sharper”) . . . Julie Harris . . . Geraldine Page (“A titanic talent”) . . . And the men who mattered and helped with his creations, including Elia Kazan, José Quintero, Marlon Brando, John Gielgud . . . James Grissom’s Follies of God is a revelation, a book that moves and inspires and uncannily catches that illusive “dreaming nature.”

When Stories Travel

Author: Cristina Della Coletta
Editor: JHU Press
ISBN: 9781421403656
File Size: 60,42 MB
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Adapting fiction into film is, as author Cristina Della Coletta asserts, a transformative encounter that takes place not just across media but across different cultures. In this book, Della Coletta explores what it means when the translation of fiction into film involves writers, directors, and audiences who belong to national, historical, and cultural formations different from that of the adapted work. In particular, Della Coletta examines narratives and films belonging to Italian, North American, French, and Argentine cultures. These include Luchino Visconti’s adaptation of James M. Cain’s The Postman Always Rings Twice, Federico Fellini’s version of Edgar Allan Poe’s story "Never Bet the Devil Your Head," Alain Corneau’s film based on Antonio Tabucchi’s Notturno indiano, and Bernardo Bertolucci’s take on Jorge Luis Borges’s "Tema del traidor y del héroe." In her framework for analyzing these cross-cultural film adaptations, Della Coletta borrows from the philosophical hermeneutics of Hans-Georg Gadamer and calls for a "hermeneutics of estrangement," a practice of mediation and adaptation that defines cultures, nations, selfhoods, and their aesthetic achievements in terms of their transformative encounters. Stories travel to unexpected and interesting places when adapted into film by people of diverse cultures. While the intended meaning of the author may not be perfectly reproduced, it still holds, Della Coletta argues, an equally valid and important intellectual claim upon its interpreters. With a firm grasp on the latest developments in adaptation theory, Della Coletta invites scholars of media studies, cultural history, comparative literature, and adaptation studies to deepen their understanding of this critical encounter between texts, writers, readers, and cultural movements.

Neurological Disorders In Famous Artists

Author: Julien Bogousslavsky
Editor: Karger Medical and Scientific Publishers
ISBN: 380558265X
File Size: 73,97 MB
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More on the relationship between brain disease and creativity Neurological Disorders in Famous Artists - Part 2' presents more writers, philosophers, musicians, painters and film directors who developed some form of neurological dysfunction and whose style and output changed following a stroke or other cerebral disorder. Mozart, Baudelaire, de Kooning, Proust, F ssli, Heine, Fellini, Visconti and others are all striking examples of how extraordinary creativity can be challenged and modified or destroyed and restored, all within the drama of a disease. When brain disease challenges the capabilities of artists, the changes that subsequently occur in their work provide a unique opportunity to explore the mysteries of creativity. This may also lead to a better understanding on how certain artists developed, particularly when the course of a disease corresponds with what is generally recognized as a new chapter in their work. This book offers a fascinating read for neurologists, psychiatrists, general physicians and anybody interested in art, literature, music and film.

Mafia Movies

Author: Dana Renga
Editor: University of Toronto Press
ISBN: 1442661747
File Size: 69,30 MB
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Rico 'Little Caesar' Bandello, Michael Corleone, and Tony Soprano are just some of the onscreen mafia figures that have fascinated audiences since cinema's inception. Portrayals of the Italian and Italian-American mafia, though, have differed markedly over time and across multiple cultures—from the Godfather trilogy to contemporary Italian films, and in works both by established producers like Martin Scorsese and emerging directors like Matteo Garrone. Mafia Movies encourages mafia aficionados to explore the rich variety of classics and rarities within the genre with provocative analyses of over forty films. The essays in this volume provide a comprehensive exploration of the myth of the mafia onscreen, identifying key features and connections to styles such as film noir, thrillers, and even westerns. Mafia Movies also questions whether there are uniquely American or Italian ways of depicting the mafia, exploring how filmmakers from both countries have approached the subject in divergent ways.

Cinema After Fascism

Author: S. Craig
Editor: Springer
ISBN: 0230109748
File Size: 51,25 MB
Format: PDF
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Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.