Luchino Visconti

Dante’s Inferno depicts the journey through the circles of Hell embarked upon by a character who shares his namesake, and his companion-guide Virgil. Throughout the nine circles he is met by various sinners of increasing degree. The punishments they receive are meant to be fitting and are therefore symbolic of the sins that were perpetrated above in the land of the living. Dante’s tale also includes the passage to hell in which he is met by creatures acting as a foreshadowing of what awaits him within. Great effort is made by Dante to paint a detailed picture for the reader that is both horrible and realistic. His use of symbols helps to make sense of what the reader is seeing; it also helps to make the unknown familiar and logical. At the onset of the tale Dante finds himself at the edge of a wooded area, having claimed to have lost his way, or “wandered from the straight path” (Canto I, 3). Losing his path is easily related to wandering down an immoral or otherwise sinful road. This road, as the reader will discover, is leading him to the gates of Hell. His new path brings before him three savage creatures. The first he encounters is the Leopard. Dante describes the leopard as a “gaudy beast” referring to the showiness of its coat (Canto I, 43). The second beast encountered is the lion, hungry and furious. Lastly he is met by a she-wolf who he describes as “racked with every kind of greediness” (Canto I, 50). These creatures, while being wild animals in a wood…

characters into a new light that society had never seen them in before. For instance, in Canto 33 Dante and Virgil meet Count Ugolino or Ugolino della Gherardesca. While Francesca and Paolo not well-known, Ugolino was famed individual in politics. He was born into one of the most powerful families of 13th century Pisa. Ugolino was an important figure in the Sardinian Kingdom of Cagliari but, after the fall of the dynasty, Ugolino switched his alliances to the Guelf party and eventually returned…

As the magazine was kept away from explaining administrative issues (the article supervisor in-leader of the magazine was Vittorio Mussolini, offspring of Benito Mussolini), the observers ambushed the Telefoni Bianchi films that directed the business at the time. As a counter to the predominant standard motion pictures, a couple of observers felt that Italian cinema should swing to the logical thinking creators from the turn of the twentieth century. Antonioni and Visconti had worked intimately…

political agenda and worldview were very much products of a specific time and place. But the aesthetic terms of Neorealist cinema were inspired and improved upon. History and origin: With the fall of Mussolini's government, the Italian film industry lost its organizational centre. Most production firms became small-scale affairs. While domestic companies struggled, Neorealist cinema emerged as a force for cultural renewal and social change. Than neorealist was developed by a group of film…

fascist government had complete control over Italian film industry and did not want to show Italy in a negative way, therefore, any form of anti-government films were forbidden by law. It should be noted that the film industry during this period was tagged ‘white telephone drama’, which was a melodrama about the upper class lifestyle or historical epics, ignoring the real issues inherent in Italy. With the outbreak and end of World War II, Mussolini’s Fascist regime in 1943 fell, and…

The novel The Stranger by Albert Camus was published in 1946, first was written in English hen was translated from the French by Matthew Ward. The film based off of the novel was released in 1967. The screenwriter and also director of the movie was Luchino Visconti. There were many small differences in the film compared to the novel. Most of the differences were to emphasize a specific part within the movie that the book necessarily didn't specify. One of the differences was how the…

experience as a hostile to Fascist factional who charged the Milan Resistance in 1943. The Battle of Algiers is a motion picture made by a chief who knows (in both faculties) whereof he shoots. Co-composed by Franco Solinas, who might later compose Costa-Gavras' State of Siege, the film was initially planned as a bit of agitprop for the reason for hostile to expansionism. (De Gaulle professed Algeria a free nation in 1962, so the battle was still crisp for groups of onlookers.) Subsidized by…