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Author: Joe McElhaney
Publisher: Wayne State University Press
ISBN: 0814343090
Category : Art
Languages : en
Pages : 257
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Book Description
Unveils the metaphoric and theoretical possibilities of fabric in the films of Luchino Visconti. In Luchino Visconti and the Fabric of Cinema, Joe McElhaney situates Visconti's films as privileged and deeply expressive instances of a trope that McElhaney identifies as the "cinema of fabric": a reoccurrence in film in which textiles—clothing, curtains, tablecloths, bedsheets—determine the filming process. An Italian neorealist, Visconti emerges out of a movement immediately following WWII wherein fabric assumes crucial functions, yet Visconti's use of fabric surpasses his colleagues in many ways, including its fluid, multifaceted articulations of space and time. Visconti's homosexuality is central to this theory in that it assumes metaphoric potential in addressing "forbidden" sexual desires that are made visible in the films. Visconti's cinema of fabric gives voice to desires not simply for human bodies draped in fabric but also for entire environments, a world of the senses in which fabric becomes a crucial method for giving form to such desires. McElhaney examines Visconti's neorealist origins in Ossessione, La terra trema, and Rocco and His Brothers, particularly through fabric's function within literary realism and naturalism. Neorealist revisionism through the extravagant drapings of the diva film is examined in Bellissima and Senso whereas White Nights and The Strangerare examined for the theatricalizing through fabric of their literary sources. Visconti's interest in German culture vis-à-vis The Damned, Death in Venice, and Ludwig, is articulated through a complex intertwining of fabric, aesthetics, politics, and transgressive sexual desire. Finally, Visconti's final two films, Conversation Piece and The Innocent, assess through fabric both the origins of Italian fascism and the political tensions contemporaneous with the films' productions. Fabric in Visconti is often tied to the aesthetic impulse itself in a world of visionaries attempting to dominate their surrounding environments and where a single piece of fabric may come to represent the raw material for creation. This book will tantalize any reader with a keen eye and strong interest in film and queer studies.
Author: Joe McElhaney
Publisher: Wayne State University Press
ISBN: 0814343090
Category : Art
Languages : en
Pages : 257
Get Book Here
Book Description
Unveils the metaphoric and theoretical possibilities of fabric in the films of Luchino Visconti. In Luchino Visconti and the Fabric of Cinema, Joe McElhaney situates Visconti's films as privileged and deeply expressive instances of a trope that McElhaney identifies as the "cinema of fabric": a reoccurrence in film in which textiles—clothing, curtains, tablecloths, bedsheets—determine the filming process. An Italian neorealist, Visconti emerges out of a movement immediately following WWII wherein fabric assumes crucial functions, yet Visconti's use of fabric surpasses his colleagues in many ways, including its fluid, multifaceted articulations of space and time. Visconti's homosexuality is central to this theory in that it assumes metaphoric potential in addressing "forbidden" sexual desires that are made visible in the films. Visconti's cinema of fabric gives voice to desires not simply for human bodies draped in fabric but also for entire environments, a world of the senses in which fabric becomes a crucial method for giving form to such desires. McElhaney examines Visconti's neorealist origins in Ossessione, La terra trema, and Rocco and His Brothers, particularly through fabric's function within literary realism and naturalism. Neorealist revisionism through the extravagant drapings of the diva film is examined in Bellissima and Senso whereas White Nights and The Strangerare examined for the theatricalizing through fabric of their literary sources. Visconti's interest in German culture vis-à-vis The Damned, Death in Venice, and Ludwig, is articulated through a complex intertwining of fabric, aesthetics, politics, and transgressive sexual desire. Finally, Visconti's final two films, Conversation Piece and The Innocent, assess through fabric both the origins of Italian fascism and the political tensions contemporaneous with the films' productions. Fabric in Visconti is often tied to the aesthetic impulse itself in a world of visionaries attempting to dominate their surrounding environments and where a single piece of fabric may come to represent the raw material for creation. This book will tantalize any reader with a keen eye and strong interest in film and queer studies.
Author: Michael Wedel
Publisher:
ISBN:
Category :
Languages : de
Pages : 0
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Book Description
Author: Geoffrey Nowell-Smith
Publisher: Viking Adult
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 234
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Book Description
Aristocrat and Marxist, master equally of harsh realism and sublime melodrama, Luchino Visconti (1906-76) 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 1940s 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 that of the princess he is supposed to marry. Geoffrey Nowell-Smith's celebrated study of the director was first published in 1967 and revised in 1973. It is now fully 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. Book jacket.
Author: Dominic Lash
Publisher: Springer Nature
ISBN: 3031333055
Category : Performing Arts
Languages : en
Pages : 226
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Book Description
This book is the first collection of essays to offer detailed examinations of the role that close attention to individual films plays in the philosopher Gilles Deleuze’s work on cinema. In the last two decades, Deleuze's two books on film have had an enormous influence on Film Studies, profoundly affecting thinking about movement, time, history, and other topics. Theoretically ambitious and philosophically rich but clearly written by a broad range of established and emerging international film scholars, the chapters in this volume will both contribute to, and in places challenge, the vibrant field of Deleuzian film studies. Topics covered range from the relationship of Deleuze to film criticism; the role of theories of movement; and studies of works by major filmmakers including Federico Fellini, Werner Herzog, Vincente Minnelli, and Orson Welles. This book will be of interest not only to specialists in Deleuze but to anybody engaged with the close study of film and its philosophical ramifications.
Author: Claretta Tonetti
Publisher: Boston : Twayne Publishers
ISBN:
Category : Performing Arts
Languages : en
Pages : 224
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Book Description
Biography of Luchino Visconti, an Italian theatre, opera and cinema director, as well as a screenwriter.
Author: Joan Ramon Resina
Publisher: Bloomsbury Publishing
ISBN: 1350185795
Category : Performing Arts
Languages : en
Pages : 241
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Book Description
Luchino Visconti (1906-1976) was one of Europe's most prestigious filmmakers, who rose to prominence as part of the Italian neo-realist movement, alongside contemporaries Vittorio De Sica and Roberto Rossellini. Famous for his elegant lifestyle, as friend of Jean Renoir and Coco Chanel amongst others, his vibrant technicolour dramas are also known for their decadence and stunning display of aesthetic mastery and sensory pleasure. Looking beyond this colourful façade, however, Resina explores the philosophical implications of decadence with a particular focus on three films from the late phase in Visconti's production, Damned (1969), Death in Venice (1971), and Ludwig (1972). From the incestuous relationship between decadence and power to decadence as an outcome of straining toward formal perfection, Resina uncovers the unity and philosophical cohesiveness of these films that deal with different subjects and historical periods. Reading these films and their decadence in light of the time of filming and Visconti's own sense of cultural doom, Resina further demonstrates the relevance of Visconti's philosophy today and how much they still have to say to our contemporary situation.
Author: Geoffrey Nowell-Smith
Publisher: Viking Adult
ISBN: 9780670019793
Category : Motion picture producers and directors
Languages : en
Pages : 220
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Book Description
Author: John Gibbs
Publisher: Springer
ISBN: 1137585730
Category : Performing Arts
Languages : en
Pages : 271
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Book Description
This is the first book in English exclusively devoted to the long take, one of the key elements of film style. Increasingly visible in contemporary international media, the long take currently attracts a good deal of attention in criticism and commentary. There are also significant strands of film theory in which duration has become a recurrent concern. In keeping with the approach of Palgrave Close Readings in Film and Television, this collection is devoted to the detailed critical analysis of specific long takes, explored in terms of how they function within their contexts, how they shape the visual field, the meanings they generate and the effects they create. The Long Take: Critical Approaches brings together essays by established and emerging scholars (all but one essay commissioned for this volume) in an exciting collection that analyses works from a range of filmmaking traditions, from the 1930s to the present day, selected to represent varied long take practices and to explore associated debates.
Author: Laura U. Marks
Publisher: Duke University Press
ISBN: 1478059125
Category : Philosophy
Languages : en
Pages : 220
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Book Description
In The Fold, Laura U. Marks offers a practical philosophy and aesthetic theory for living in an infinitely connected cosmos. Drawing on the theories of Leibniz, Glissant, Deleuze, and theoretical physicist David Bohm—who each conceive of the universe as being folded in on itself in myriad ways—Marks contends that the folds of the cosmos are entirely constituted of living beings. From humans to sandwiches to software to stars, every entity is alive and occupies its own private enclosure inside the cosmos. Through analyses of fiction, documentary, and experimental movies, interactive media, and everyday situations, Marks outlines embodied methods for detecting and augmenting the connections between each living entity and the cosmos. She shows that by affectively mediating with the ever-shifting folded relations within the cosmos, it is possible to build “soul-assemblages” that challenge information capitalism, colonialism, and other power structures and develop new connections with the infinite. With this guide for living within the enfolded and unfolding cosmos, Marks teaches readers to richly apprehend the world and to trace the processes of becoming that are immanent within the fold.
Author: Laurence Schifano
Publisher: HarperCollins
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 496
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Book Description
Winner of the French Academy's prize for biography in 1988, this book describes the passionate life of the great opera, theatre and film director. He was both a reactionary and a rebel, a Catholic and an iconoclast, a homosexual Don Juan and friend of a galaxy of international figures.
