Results 121 to 130 of about 13,632 (173)
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Luchino Visconti and the fabric of cinema
Studies in European Cinema, 2022precisely it is able to demonstrate the nature of these institutions, instead of simply gesturing towards an inchoate thing called ‘art cinema.’ My chief reservations about the book, however, concern the nature and function of its critical agnosticism ...
Will Kitchen
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Choice Reviews Online, 2004
Luchino Visconti, 3rd edition. Geoffrey Nowell‐Smith. London: LoBFI Publishing. 2003.
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Luchino Visconti, 3rd edition. Geoffrey Nowell‐Smith. London: LoBFI Publishing. 2003.
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Journal of Italian Cinema & Media Studies
This article argues for a spatial and materially rooted understanding of the uncanny by looking at two contemporaneous yet seldom compared Venice films: Nicolas Roeg’s Don’t Look Now (1973) and Luchino Visconti’s Morte a Venezia (Death in Venice) (1971).
Marie-Louise James
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This article argues for a spatial and materially rooted understanding of the uncanny by looking at two contemporaneous yet seldom compared Venice films: Nicolas Roeg’s Don’t Look Now (1973) and Luchino Visconti’s Morte a Venezia (Death in Venice) (1971).
Marie-Louise James
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Culture of Ukraine
The relevance of this topic is due to the growing interest in the mechanisms of the impact of art on the emotional and psychological state of the viewer, as well as their consciousness. The media, and cinema in particular, seems to be not only a means of
T. Kozhukalo
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The relevance of this topic is due to the growing interest in the mechanisms of the impact of art on the emotional and psychological state of the viewer, as well as their consciousness. The media, and cinema in particular, seems to be not only a means of
T. Kozhukalo
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The Lesser Examined Coming of Age: Luchino Visconti’s Death in Venice (1971)
Film MattersThis study is a combination of Simone de Beauvoir’s phenomenological studies and Christopher Bollas’s theories on object-relations psychoanalysis to contextualize the age-induced anxieties as revealed through Luchino Visconti’s Death in Venice (1971).
Sophia Rubino
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Contemplation et séduction : vers un autoérotisme du regard chez Luchino Visconti
Jurnalul Artelor SpectacoluluiLe regard dans les films de Luchino Visconti suggère une articulation privilégiée entre le sexuel, l’artistique et le visuel ; en conséquence, le cadrage pratiqué par le réalisateur italien a pour rôle de voiler la vue ou de rendre difficile la vision de
Noemia Câmpean
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Etruscan Places on Page and Screen: Luchino Visconti’s Alleged Plagiarism of Giorgio Bassani
AnabasesL’article étudie l’usage des références à l’archéologie étrusque dans deux œuvres de fiction : le film Sandra [Vaghe stelle dell’Orsa], réalisé par Luchino Visconti en 1965, et le livre Le Jardin des Finzi-Contini [Il giardino dei Finzi-Contini] de ...
Martina Piperno
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Internal Orientalism in the Movies of Luchino Visconti
KoinonThe purpose of this research is to analyze the use of elements of internal orientalism to reflect interethnic interaction and cultural stereotypes within Italy on the example of Luchino Visconti’s cinematic work.
Yu. A. Korneychuk
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Reframing Luchino Visconti: Film and Art
, 2020munity activists or the woman who has worked for years in the chip shop’ (p. 103), while Cottrell suggests eliciting the neglected oral histories of ancillary music workers to yield deeper truths (p. 264).
Y. Laberge
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