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Sep 8, 2019 · Ossessione’s social realism offered an unflattering portrait of everyday life in Fascist Italy that was in stark opposition to the regime’s optimistic social self-image.
- A Moral Authority
- Filming The Real
- Men, Women & Crimes of Passion
- Death, and Right Away
- The Opening of Doors
Prior to Ossessione, Visconti, a member of a prominent noble family of Milan, had worked as the assistant director on a couple of Jean Renoir pictures, a connection having been made through mutual friend Coco Chanel. The move to directing his own movies was a natural progression. Yet it would not be without its challenges, namely the interventions ...
Share Share on PinterestShare on FacebookShare on Twitter Visconti first came across The Postman Always Rings Twice when Renoir give him a French translation of the book. It has been said that“the project united his aesthetic, ideological and stylistic ambitions with concrete melodramatic foundations, all within a solidly recognisable socio-cultura...
The typical Film Noir protagonist was typically male, at odds with the world, at a low ebb but with a curiously righteous moral code that exerts itself sometimes against his will. Author Raymond Chandler described his great creation private detective Philip Marlowe as a “shop-soiled Sir Galahad” and that seems about right. Women, on the other hand,...
Whereas a Film Noir (quite rightfully for the genre) would revel and wallow in the dirty details of the scheming and the execution, Ossessione is much more subtle in its execution, as if the murder is more just the by-product of the complex power relationships between the protagonists, rather than a living, breathing entity in itself. There is no g...
Two great film genres, two different cinematic approaches. But what Ossessione proves is not only the worthiness of the hard-boiled, pulp crime novel as a template for complex, psychologically driven explorations of human relationships, but that such explorations did not and do not have to conform to the standard generic conventions of the typical ...
Mar 11, 2019 · Building on Antonio Gramsci’s treatment of fascism as a relational system embedded in petit-bourgeois desires and aspirations, this essay reconstructs how Ossessione sought to queer the nation – to disrupt the melodramatic attachment that bound the people to Mussolini and to promote the constitution of a nonconforming body politic.
Ossessione ([ossesˈsjoːne], "Obsession") is a 1943 Italian crime drama film directed and co-written by Luchino Visconti, in his directorial debut. It is an unauthorized and uncredited adaptation of the 1934 novel The Postman Always Rings Twice by American author James M. Cain , and stars Clara Calamai , Massimo Girotti , and Juan de Landa in ...
The following thesis focuses on the Italian director, Luchino Visconti and his first feature film, Ossessione. It evaluates his film in relation not only to the director’s biography but also to its historical and cinematic context.
Feb 4, 2016 · In this context, Ossessione faced great distribution and exhibition obstacles, with the Fascists at one point even cutting and destroying prints of the film. (Visconti wisely squirrelled a version away himself, and thus the film survived 12).
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Ossessione grants to landscape a centrality that has far-reaching conse- History and Landscape in Luchino Visconti' s Ossessione 175 quences for Italian cinema.
