- by Björn Moll
- •
- 4
Love lies at the root of Western thinking, yet it has been progressively marginalized. There seems to be no place for love in academia, as it appears to be non-objective, un-scientific, even shameful and sometimes criminal. How did we.. more
Topics Death in Venice - Morte a Venezia (1971), Luchino Visconti Synopsis Based on a novel by Thomas Mann, Death in Venice stars Dirk Bogarde as a German composer who is terrified that he has lost all vestiges of humanity. Thomas Mann/Luchino Visconti: un confronto ed. The most celebrated of these was based on Thomas Mann’s 1. Der Tod in Venedig. Dirk Bogarde, who performed the role of Gustav von Aschenbach in the 1. Morte A Venezia Mann Pdf To Jpg. 1971 Death in Venice - Trailer. GUSTAV MAHLER-Film 'MORT A VENISE'-'MORTE A VENEZIA'-'DEATH IN VENICE'-Luchino VISCONTI.
- Morte a Venezia (original title) GP| 2h 10min. The film was also inspired by other Thomas Mann's novel like 'Doctor Faustus' or by Marcel Proust's writing.
- Morte a venezia Download morte a venezia or read online here in PDF or EPUB. Please click button to get morte a venezia book now. All books are in clear copy here, and all files are secure so don't worry about it.
Love lies at the root of Western thinking, yet it has been progressively marginalized. There seems to be no place for love in academia, as it appears to be non-objective, un-scientific, even shameful and sometimes criminal. How did we move from Plato's Symposium to the obliteration of love? What are the effects on thinking and creativity? Is the sterilization of erotic tension really a necessity for rigorous thinking? And, finally, could academia actually bear the return of eros in its classrooms?
- by Riccardo Finozzi
- •
Gustav von Aschenbach, the protagonist of Thomas Mann's Death in Venice, in his fifties, falls in love with a boy of fourteen. He follows the boy with an inexhaustible passion. That is why this work of fiction attracts the attention of.. more
Gustav von Aschenbach, the protagonist of Thomas Mann's Death in Venice, in his fifties, falls in love with a boy of fourteen. He follows the boy with an inexhaustible passion. That is why this work of fiction attracts the attention of almost every scholar engaged in the discussion of pedophilia in literary studies. However, his infatuation is often categorized as the portrayal of degeneration in the modernist literature. This paper begs to differ from those critics and argues that Aschenbach's fascination with Tadzio does not show his degeneration, rather, his desire for regeneration.
- by Gatha Rijal
- •
Adaptation de la nouvelle de Thomas Mann, le long-métrage Mort à Venise (1971) de Luchino Visconti montre comment deux conceptions artistiques, à l’apparence antinomiques, entrent en collision dans le parcours personnel du compositeur.. more
Morte A Venezia Colonna Sonora
Adaptation de la nouvelle de Thomas Mann, le long-métrage Mort à Venise (1971) de Luchino Visconti montre comment deux conceptions artistiques, à l’apparence antinomiques, entrent en collision dans le parcours personnel du compositeur Gustav Aschenbach s’éprenant du jeune Tadzio, lors de son séjour vénitien. Réflexion sur la beauté, Mort à Venise de Visconti est surtout une œuvre sur la fascination de la laideur, incarnée par une panoplie de personnages, de thèmes et de motifs décadents, récurrents dans le cinéma du réalisateur.
Après une analyse des éléments esthétiques et narratifs du film, cet essai converge vers une contextualisation et une interprétation politique de la pestilence qui sévit à Venise. En effet, bien que reléguée « hors champ », l’Histoire a une place prépondérante et cet essai tente de répondre à la question suivante : de quoi l’épidémie est-elle le signe chez Luchino Visconti ? Présage de la guerre dans la nouvelle, le choléra renvoie à une critique de l’utilitarisme de la morale bourgeoise dans le film qui apparaît alors comme une célébration de la jouissance (« ce qui ne sert à rien », pour reprendre la formule lacanienne) s’opposant aux logiques économiques et culturelles régissant la société italienne à la fin des années 1960.
Après une analyse des éléments esthétiques et narratifs du film, cet essai converge vers une contextualisation et une interprétation politique de la pestilence qui sévit à Venise. En effet, bien que reléguée « hors champ », l’Histoire a une place prépondérante et cet essai tente de répondre à la question suivante : de quoi l’épidémie est-elle le signe chez Luchino Visconti ? Présage de la guerre dans la nouvelle, le choléra renvoie à une critique de l’utilitarisme de la morale bourgeoise dans le film qui apparaît alors comme une célébration de la jouissance (« ce qui ne sert à rien », pour reprendre la formule lacanienne) s’opposant aux logiques économiques et culturelles régissant la société italienne à la fin des années 1960.
- by Giuseppina Sapio
- •
Reseña de la novela filósofica 'Rupertine del Fino' de Philipp Mainländer. Publicada en la Revista filosófica 'Symploké'.
- by Dario Romero
- •
- by Elisabeth Galvan
- •
- Thomas Mann Death in Venice
L’arte di Mann è caratterizzata da una composizione filosofica delle idee e dei personaggi presentati, spesso con un tono ironico e distaccato, indicativo di un giudizio negativo da parte dell’autore stesso verso la società a lui.. more
L’arte di Mann è caratterizzata da una composizione filosofica delle idee e dei personaggi presentati, spesso con un tono ironico e distaccato,
indicativo di un giudizio negativo da parte dell’autore stesso verso la società a lui contemporanea.
La visione pessimista del mondo intellettuale tipica di Mann è evidente nel finale: con un crescendo di sensazioni proibite, di sogni orgiastici e di atmosfera a tratti esotica, la decadenza dello spirito del protagonista raggiunge il culmine con la morte. Una morte che
sembra chiudere un cerchio ideale, aperto con il titolo “La Morte a Venezia”, sviluppatosi con la morte spirituale di Aschenbach, fino ad arrivare alla sua morte fisica.
indicativo di un giudizio negativo da parte dell’autore stesso verso la società a lui contemporanea.
La visione pessimista del mondo intellettuale tipica di Mann è evidente nel finale: con un crescendo di sensazioni proibite, di sogni orgiastici e di atmosfera a tratti esotica, la decadenza dello spirito del protagonista raggiunge il culmine con la morte. Una morte che
sembra chiudere un cerchio ideale, aperto con il titolo “La Morte a Venezia”, sviluppatosi con la morte spirituale di Aschenbach, fino ad arrivare alla sua morte fisica.
- by Eleonora Bonel
- •
In the twentieth century, writers turned their attention to the past and used myth in their works. It is a wrong notion to think of modernity as a rejection of tradition and just in search of novelty since there is a strong connection.. more
In the twentieth century, writers turned their attention to the past and used myth in their works. It is a wrong notion to think of modernity as a rejection of tradition and just in search of novelty since there is a strong connection between modernity and tradition. Thomas Mann is different from his contemporaries in the attention he pays to the past as well as the present. This article examines the importance of the relation of Thomas Mann to both myth and psychology. The significance of the mixture between modernity and tradition, the contemporary elements and the mythological figures, myth and psychology in his masterpiece Death in Venice is going to be discussed.
- by Zahra Sadeghi
- •
Costellazioni 6, 2018, p. 45-66. There are many overt and covert quotations of ancient Greek Literature in Thomas Mann’s Der Tod in Venedig. It has been shown by previous scholarship that Mann found most of them in A. Schopenhauer’s.. more
Costellazioni 6, 2018, p. 45-66.
There are many overt and covert quotations of ancient Greek Literature in
Thomas Mann’s Der Tod in Venedig. It has been shown by previous scholarship
that Mann found most of them in A. Schopenhauer’s Die Welt als Wille
und Vorstellung. This paper adds further considerations about Schopenhauer’s
influence on Mann’s reading and re-writing of a single quotation from
Xenophon and Plutarch’s Erotikos.
There are many overt and covert quotations of ancient Greek Literature in
Thomas Mann’s Der Tod in Venedig. It has been shown by previous scholarship
that Mann found most of them in A. Schopenhauer’s Die Welt als Wille
und Vorstellung. This paper adds further considerations about Schopenhauer’s
influence on Mann’s reading and re-writing of a single quotation from
Xenophon and Plutarch’s Erotikos.
- by Paul DEMONT
- •
- 3
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.. more
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.
- by Magalí Haber
- •
- by Francesco Bausi
- •
- 15
Pentru Thomas Mann, băiatul care s-a agăţat de această idee a “preferatului mamei”, realitatea oferită de o mama care l-a abandonat şi care primea adesea visite de la musafiri de sex masculin este cea care contureaza portretul mamei ca.. more
Pentru Thomas Mann, băiatul care s-a agăţat de această idee a “preferatului mamei”, realitatea oferită de o mama care l-a abandonat şi care primea adesea visite de la musafiri de sex masculin este cea care contureaza portretul mamei ca fiind o imagine atractivă, dar în esenţă distructivă, precum Gorgona. Toate elementele legate de figura maternă sunt prezentate nu tragic, ci într-un mod grotesc sau comic, dar foarte realist. Mai toate personajele de sex feminin ale lui Thomas Mann respectă această imagine, ele având un aspect plăcut, dar un interior aflat în proces de degradare. Acest lucru e o consecinţă a ruperii legăturii cu pruncul, cu băiatul care încă se ţine de braţul mamei şi datorită răcelii în relaţia mamă-fiu venită din partea mamei
- by Theodora A. Mong
- •
- by Max Milstein
- •
- 2
- by Lorenzo Filippo Bacchini
- •
- 7
'Material ecocriticism' is a methodological approach which, assuming the active expressiveness of matter, extends the category of text to all material formations , taking bodies and landscapes as the bearers of 'material narratives.'.. more
'Material ecocriticism' is a methodological approach which, assuming the active expressiveness of matter, extends the category of text to all material formations , taking bodies and landscapes as the bearers of 'material narratives.' Investigating the trope of 'death in Venice,' this chapter proposes a comparative reading of Mann's famous novella, Andrea Zanzotto's lyrical cycle Fu Marghera, and Marco Paolini's theatrical play Parlamento Chimico/Storie di plastica. Its main point, however, is an examination of this theme in the city's own textuality and active materiality. Applying the categories of material ecocriticism, I concentrate on Venice as a text made out of embodied stories – a material text, in which natural dynamics, cultural practices, political visions, and industrial choices are interlaced with human bodies in issues of justice, health, and ecology.
- by Serenella Iovino
- •
A Bakhtinian grotesque and carnivalesque analysis of Franz Kafka's The Metamorphosis and Thomas Mann's A Death in Venice. Elements of setting, dialogue, interpersonal dynamics, and distortion reveal protagonists embodying trauma and.. more
A Bakhtinian grotesque and carnivalesque analysis of Franz Kafka's The Metamorphosis and Thomas Mann's A Death in Venice. Elements of setting, dialogue, interpersonal dynamics, and distortion reveal protagonists embodying trauma and alienation as a result of war and industrialization, evidenced in warped perceptions of reality, and internalization of their trauma leading to deconstruction and death as their only means of liberation.
- by Mary A Crockford
- •
A Bakhtinian carnivalesque/grotesque analysis of Franz Kafka's Metamorphosis and Thomas Mann's A Death in Venice. Setting, dialogue, interpersonal dynamics, and distortion reveal protagonists embodying trauma and alienation as a result of.. more
A Bakhtinian carnivalesque/grotesque analysis of Franz Kafka's Metamorphosis and Thomas Mann's A Death in Venice. Setting, dialogue, interpersonal dynamics, and distortion reveal protagonists embodying trauma and alienation as a result of war and industrialization, evidenced in warped perceptions of reality, and internalization of their trauma leading to deconstruction and death as their only means of liberation.
- by Mary A Crockford
- •
- by Eloi De Tera
- •
- 9
Abstract: Titre du document / Document title Orientalismo in friedrich holderlin, stefan george e hugo von hofmannsthal Auteur(s) / Author(s) DÖRR Georg (1 2) ; Affiliation(s) du ou des auteurs / Author(s) Affiliation(s) (1).. more
Abstract:
Titre du document / Document title
Orientalismo in friedrich holderlin, stefan george e hugo von hofmannsthal
Auteur(s) / Author(s)
DÖRR Georg (1 2) ;
Affiliation(s) du ou des auteurs / Author(s) Affiliation(s)
(1) University of Venice, Ca' Foscari, ITALIE
(2) Eberhard-Karls-Universität in Tübingen, ALLEMAGNE
Résumé / Abstract
After introductory remarks, including mention of the emergence of 'Occidentalism', post 9/11, the contribution deals with a selection of the images of the Orient in German and Italian literature, as found in the above-mentioned authors and Gabriele D'Annunzio. These authors' image of the Orient is closely related to their reception of ancient cultures, in particular the Greek culture. With the exception of Hölderlin, this reception was determined by Nietzsche's own understanding. At the center of the writer's argumentation is the elaboration of the terms 'Apollinian' and 'Dionysian', whereby the first can be aligned with the female principle and the second with the male (for Hofmannsthal and George, at least). In the case of George and D'Annunzio this type of reception of the Orient and ancient culture leads to a form of intellectual fascism.
Revue / Journal Title
Annali di Ca' Foscari ISSN 1125-3762
Source / Source
2004, vol. 43, no1-2, pp. 97-124 [28 page(s) (article)]
Langue / Language
Italien
Editeur / Publisher
Programma, Padova, ITALIE (1985) (Revue)
Titre du document / Document title
Orientalismo in friedrich holderlin, stefan george e hugo von hofmannsthal
Auteur(s) / Author(s)
DÖRR Georg (1 2) ;
Affiliation(s) du ou des auteurs / Author(s) Affiliation(s)
(1) University of Venice, Ca' Foscari, ITALIE
(2) Eberhard-Karls-Universität in Tübingen, ALLEMAGNE
Résumé / Abstract
After introductory remarks, including mention of the emergence of 'Occidentalism', post 9/11, the contribution deals with a selection of the images of the Orient in German and Italian literature, as found in the above-mentioned authors and Gabriele D'Annunzio. These authors' image of the Orient is closely related to their reception of ancient cultures, in particular the Greek culture. With the exception of Hölderlin, this reception was determined by Nietzsche's own understanding. At the center of the writer's argumentation is the elaboration of the terms 'Apollinian' and 'Dionysian', whereby the first can be aligned with the female principle and the second with the male (for Hofmannsthal and George, at least). In the case of George and D'Annunzio this type of reception of the Orient and ancient culture leads to a form of intellectual fascism.
Revue / Journal Title
Annali di Ca' Foscari ISSN 1125-3762
Source / Source
2004, vol. 43, no1-2, pp. 97-124 [28 page(s) (article)]
Langue / Language
Italien
Editeur / Publisher
Programma, Padova, ITALIE (1985) (Revue)
- by Georg Doerr
- •
Estudios Clasicos, 147, 2015, 7-28 [trad. de Etudes germaniques, 2009].
- by Paul DEMONT
- •
- 2
Death in Venice | |
---|---|
Directed by | Luchino Visconti |
Produced by | Luchino Visconti |
Screenplay by | Luchino Visconti Nicola Badalucco |
Based on | Death in Venice by Thomas Mann |
Starring | Dirk Bogarde Silvana Mangano Romolo Valli Mark Burns Björn Andrésen |
Music by | Gustav Mahler Ludwig van Beethoven Modest Mussorgsky Armando Gil |
Cinematography | Pasqualino De Santis |
Edited by | Ruggero Mastroianni |
Distributed by | Warner Bros. |
Release date | March 1, 1971 |
130 min. | |
Country | Italy France |
Language | English French Italian Polish |
Budget | $2 million[1] |
Death in Venice (original Italian title: Morte a Venezia) is a 1971 Italian-French drama film directed in Panavision and Technicolor by Luchino Visconti and starring Dirk Bogarde and Björn Andrésen. It is based on the novella Death in Venice, first published in 1912 as Der Tod in Venedig by the German author Thomas Mann.
Medical store management system project ppt. Dec 25, 2014 Ppt of medical store 1. Software For Easy Managing Of Medical Shop SEHRA MEDICAL STORE Submitted by: Navdeep Singh Sehra 1247936. SEHRA MEDICAL STORE INVENTORY MANAGEMENT The module in which stock details are maintained Including: - •Stock entry •Damage stock. Medical Store Management System Software Engineering Project hani2253. Jul 25, 2013 Project Type: Medical Store Management Team Members: 1 Ranpariya Pramod.C. 2 Panaliya Vijay.V. Client Introduction: Kishan Medical Store Gondal Sukrupa Medical Store Rajkot 3.Acknowledgment On the Successful Completion of Project we would especially like to thanks Mr. Janual Sir for giving us through out the project guidance and for his. Nov 17, 2018 Medical Shop Management System is an application project developed for medical shops. This system is a field concerned with purchasing and selling medicines, maintaining their inventory, generating sales invoices and generating reminders of expiry date about medicines. Mar 01, 2013 Medical Shop Management System project in vb.net. This ppt covers dfd, screen shots. Medical Shop Management System project ppt kasarla shashank. Medical store management system in c#.
- 7Awards
Plot[edit]
The protagonist, Gustav von Aschenbach, travels to Venice for health reasons. There, he becomes obsessed with the stunning beauty of an adolescent Polish boy named Tadzio who is staying with his family at the same Grand Hôtel des Bains on the Lido as Aschenbach.
While the character Aschenbach in the novella is an author, Visconti changed his profession from writer to composer. This allows the musical score, in particular the Adagietto from the Fifth Symphony by Gustav Mahler, which opens and closes the film, and sections from Mahler's Third Symphony, to represent Aschenbach's writing. Apart from this change, the film is relatively faithful to the book, but with added scenes where Aschenbach and a musician friend debate the degraded aesthetics of his music.
While Aschenbach attempts to find peace and quiet, the rest of the city is gripped by a cholera epidemic, and the city authorities do not inform the holiday-makers of the problem for fear that they will leave. As Aschenbach and the other guests make day-trips into the city centre, they begin to realize that something is seriously wrong. Aschenbach decides to leave, but in a moment of impulse decides to stay. However, he himself is dying from heart disease.
Rejuvenated by the presence of Tadzio—though they never actually converse—he visits the barber who, in his words, 'returns to you merely what has been lost', dyeing his grey hair black and whitening his face and reddening his lips to try to make him look younger. As he leaves the barber's shop the barber exclaims: 'And now Sir is ready to fall in love as soon as he pleases'. Aschenbach continues to gaze at Tadzio from afar, the latter more aware that he is being gazed at. In the climactic scene, Aschenbach sees Tadzio being beaten up on the beach by an older boy. When released, Tadzio walks away from him alone towards the horizon. He suddenly turns back to look at Aschenbach, then turns away to face the sun, and stretches his arm out towards it. Aschenbach too, stretches his hand as if to reach Tadzio, and at that very moment—heightened by the crescendo in Mahler's Adagietto—he dies from a heart attack. A few people notice him collapsed on his chair and alert the hotel staff. They carry Aschenbach's body away.
Cast[edit]
- Dirk Bogarde (Gustav von Aschenbach)
- Mark Burns (Alfred)
- Marisa Berenson (Frau von Aschenbach)
- Björn Andrésen (Thaddeus, AKA Tadzio)
- Silvana Mangano (Thaddeus' mother)
- Romolo Valli (Hotel manager)
- Nora Ricci (Governess)
- Franco Fabrizi (Barber)
- Carole André (Esmeralda the prostitute)
- Sergio Garfagnoli [it] (Jasiu, Polish youth)
- Luigi Battaglia (Scapegrace)
- Mascia Predit (Russian tourist)
- Marcello Bonini Olas (Nobleman at hotel party)
- Nicoletta Elmi (Little girl at table)
- Marco Tulli (Man who faints at station)
- Leslie French (Travel agent)
- Antonio Appicella (Vagrant)
- Ciro Cristofoletti (Hotel clerk)
- Dominique Darel (English tourist)
- Eva Axén (Thaddeus' oldest sister)
- Bruno Boschetti (Train station employee)
- Mirella Pamphili (Hotel guest)
Production credits[edit]
l.t.r. Visconti, Sergio Garfagnoli [it], Andresen.
- Director: Luchino Visconti
- Cinematographer: Pasqualino De Santis
- Screenplay: Luchino Visconti, Niccola Badalucco
- Art Director: Ferdinando Scarfiotti
- Costume Designer: Piero Tosi
- Production Designer: Ferdinando Scarfiotti
- Sound Track: Vittorio Trentino, Giuseppe Muratori
- Producer: Robert Gordon Edwards
- Producer (associate executive producer): Mario Gallo
- Producer (executive producer), Luchino Visconti
Music[edit]
Morte A Venezia Mann Pdf Free
The film's score was performed by the Orchestra dell'Accademia de Santa Cecilia, conducted by Franco Mannino, and subsequently released by EMI. In addition to the music of Gustav Mahler's Third and Fifth Symphonies which embodied the character and suffering of Aschenbach, Visconti included a number of pieces from other composers. Although overshadowed as they are by the dominance of Mahler they play an important part in the film's narrative. One is the ballad by Armando Gil, sung by the strolling player, Chi con le donne vole aver fortuna (He who wants to be successful with the ladies). Chandu divyastylenames wallpaper download. Another is Beethoven's famous piano piece Für Elise played by Claudio Gizzi. The third which is particularly evocative, is Modest Mussorgsky's Lullaby which in the film, heralds Ashenbach's death. It is sung by Mascia Predit, an unforgettable soprano whom Visconti was happily surprised to discover among the extras when filming the last scene.
Hush, hush-a-bye, my little grandchild,
Sleep in slumber deep, little peasant’s son
Hush, hush-a-bye; our forefathers never saw such a misfortune,
But misfortune has come, disaster upon disaster, . . .
Sleep in slumber deep, little peasant’s son
Hush, hush-a-bye; our forefathers never saw such a misfortune,
But misfortune has come, disaster upon disaster, . . .
Hush, hush, hush-a-bye!
Your small white body lies there in the cradle,
Your soul flies in the heavens,
Your quiet slumber is guarded by God himself.
By your side stand bright angels,
Bright angels!
Your small white body lies there in the cradle,
Your soul flies in the heavens,
Your quiet slumber is guarded by God himself.
By your side stand bright angels,
Bright angels!
Behind the scenes[edit]
In the second volume of his autobiography, Snakes and Ladders, Bogarde recounts how the film crew created his character's deathly white skin for the final scenes of the film, just as he dies. The makeup department tried various face paints and creams, none of which were satisfactory, as they smeared. When a suitable cream was found and the scenes were shot, Bogarde recalls that his face began to burn terribly. The tube of cream was found and written on the side was 'Keep away from eyes and skin': the director had ignored this and had been testing it out, as small patches, on various members of the film crew, before finally having it applied to Bogarde's face.
In another volume of his memoirs, An Orderly Man, Dirk Bogarde relates that, after the finished film was screened for them by Visconti in Los Angeles, the Warner Bros. executives wanted to write off the project, fearing it would be banned in the United States for obscenity because of its subject matter. They eventually relented when a gala premiere of Death in Venice was organized in London, with Elizabeth II and Princess Anne attending, to gather funds for the sinking Italian city.
In 2003, Björn Andrésen gave an interview to The Guardian in which he expressed his dislike of the fame Death in Venice brought him and how he sought to distance himself from the objectifying image he acquired from playing Tadzio.[2] He stated that he now disapproves of the film's subject matter: 'Adult love for adolescents is something that I am against in principle. Emotionally perhaps, and intellectually, I am disturbed by it - because I have some insight into what this kind of love is about.' He also recounted attending the film's premiere at the Cannes Film Festival: 'I was just 16 and Visconti and the team took me to a gay nightclub. Autocad 2012 crack 64 bit free download for windows 7. Almost all the crew were gay. The waiters at the club made me feel very uncomfortable. They looked at me uncompromisingly as if I was a nice meaty dish..it was the first of many such encounters.'
Critical reception[edit]
Death in Venice holds a 68% 'fresh' rating at Rotten Tomatoes based on 19 reviews.[3]
Film historian Lawrence J. Quirk wrote, in his study, The Great Romantic Films (1974), 'Some shots of Björn Andrésen, the Tadzio of the film, could be extracted from the frame and hung on the walls of the Louvre or the Vatican in Rome.' He says Andrésen did not represent just a pretty youngster as an object of perverted lust, but that novelist Mann and director-screen writer Visconti intended him as a symbol of beauty in the realm of Michelangelo's David or Da Vinci's Mona Lisa, the beauty that moved Dante to '..seek ultimate aesthetic catharsis in the distant figure of Beatrice.'
In 2011, writer Will Aitken published Death in Venice: A Queer Film Classic, a critical analysis the film, as part of Arsenal Pulp Press's Queer Film Classics series.[4] In July 2018, it was selected to be screened in the Venice Classics section at the 75th Venice International Film Festival.[5]
Awards[edit]
- 1971 Cannes Film Festival: 25th Birthday Award (special award created for the occasion to decide between the two favorites for the Palme d'Or)[6]
- 1972 BAFTA Awards: Best Art Direction, Best Cinematography, Best Costume Design, Best Sound Track
- 1972, Nastro d'Argento: Best Director, Best Cinematography, Best Costume Design, Best Production Design.
Award nominations[edit]
- 1972 Academy Award, Best Costume Design
- 1972 BAFTA Awards: Best Actor, Best Direction, Best Film
- 1971 Cannes Film Festival: Golden Palm (Best Film)[6]
See also[edit]
- Parodied as Death in Bognor by The Goodies[7]
- Visually referenced in Ken Russell's 1974 film Mahler
References[edit]
- ^Leftist Visconti Lives Right, But Not Under a BridgeKramer, Carol. Chicago Tribune (1963-Current file) [Chicago, Ill] 11 July 1971: e1.
- ^Matt Seaton (2003-10-16). ''I feel used': Bjorn Andresen - the beautiful Tadzio from Death in Venice, tells Matt Seaton why he is furious about being on the cover of Germaine Greer's new book'. The Guardian. Retrieved 2018-05-18.
- ^'Death in Venice'. rottentomatoes.com. Retrieved 7 May 2018.
- ^Richard Burnett, 'Montreal author Will Aitken revives Death in Venice'Archived 2012-06-15 at the Wayback Machine. Xtra!, January 26, 2012.
- ^'Biennale Cinema 2018, Venice Classics'. labiennale.org. Retrieved 22 July 2018.
- ^ ab'Festival de Cannes: Death in Venice'. festival-cannes.com. Archived from the original on 2012-09-25. Retrieved 2009-04-12.
- ^'The Official Goodies Rule - OK! Fan Club Website - Articles/Guides'. www.goodiesruleok.com. Retrieved 7 May 2018.
References[edit]
- Henry Bacon, Visconti: explorations of beauty and decay. Cambridge: Cambridge University Press, 1998.
- Dirk Bogarde, Postillion Struck by Lightning. London: Orion Books, (new edition) 2006.
- Lawrence J. Quirk, The Great Romantic Films, New York: Citadel Press, 1983.
External links[edit]
- Death in Venice on IMDb
- Death in Venice: Ruinous Infatuation an essay by Dennis Lim at the Criterion Collection
Media related to Morte a Venezia (film) at Wikimedia Commons
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Death_in_Venice_(film)&oldid=907103814'