Podcasts about Luchino Visconti

Last month, we waltzed through mid – 19th Century Italy. Today, we jump forward a half – century --- royalty continues its decline, the middle – class and powerful industrial leaders are ascendant in Europe. It's a new century and the dawn of a new, perhaps golden era. But is it? Where still a force, European royalty is having its last hurrah in controlling lands far beyond their borders through vicious policies of imperialism. A minor Prince in Germany (who calls himself the German language derivation of Caesar) is going to overstep his bounds and plunge Europe and some of the rest of the world into a butcher's shop of a conflict, known airily as WWI. As a result, the world further shunts royalty into the wastebin of history. But the desire for power, for rule over lands beyond your own borders? That remains. The eyes that lust after it, the hands that seek to grasp it, change from supposedly holy royal hands to an unholy alliance between politicians and industrial and financial might. And the world again sends its military off to slaughter one another. We saw the seeds of the downfall of royalty during the unification of Italy in Luchino Visconti's film, The Leopard. This month, we follow two men from very different backgrounds who emerge from a unified Italy. They face the fallout of WWI and the rise of cooperation between autocracy and industrial might that forms fascism. Another decorated Italian director, Bernardo Bertolucci, mounted an ambitious film to follow their path and that of Italy as a five – hour epic, 1900. The film, which debuted in 1976, not only portrayed another turning point for Italy and the world but was a significant change for Bertolucci as he moved away from a scandalous and dark part of his career. But this is just a light story travelling over decades --- nothing to teach the US and the world in 2025…Website and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Pour ce nouvel épisode des Bobines le Podcast, la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) était en direct au Festival PodRennes le 20 avril 2025. À cette occasion, nous avons choisi de vous parler d'une comédienne qui a toujours souffert de l'oubli : Annie Girardot. L'actrice à la coupe garconne qui fut l'une des comédiennes les plus populaires des années 60,70 a foncer dans le tas du cinéma Français et italien et a laissé une liste de films inoubliables. Celle qui regrettait que le cinéma Français l'ait oublié lors des Césars 1996, est injustement oublié par les spectateurs de 2025, c'est pourquoi nous nous replongeons avec plaisir dans sa filmographie riche. Crédits des extraits :03'13 Extrait de la cérémonie des Césars, 1996.09'29 Extrait Rocco et ses frères, Luchino Visconti, 1960.23'08 Extrait Elle cause plus... elle flingue, Michel Audiard, 1972.29'06 Extrait de Erotissimo, Gérard Pirès, 1969.32'50 Bonhomme chantée par Annie Girardot, extrait de la comédie musicale Revue et corrigée, 1981.41'34 Extrait du spectacle Madame Marguerite de Roberto Athayde.Si vous aimez Les Bobines le Podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez-vous sur votre plateforme favorite !Bonne écoute !Les Bobines le Podcast Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In preparation for the start of the summer movie season, Tim is joined by Brian and Caleb, who are all a little surprised to find that they're finally looking forward to some of the wide releases of 2025, after a wobbly first third of the calendar year. But before we get to the wild and thrilling spectacle of popcorn movie season, it's one of the most sober-minded movie roundtables we've ever held, as Caleb finally catches up with legendary grim war movie Come and See, while Brian learns all about the savage sexism of the indie film industry thanks to Chasing Chasing Amy. Tim, meanwhile has a pair of Patreon requests to talk about that are almost as fun: Freya Neeley has assigned him the paranoid anti-communist ravings of the vicious-hearted If Footmen Tire You, What Will Horses Do?, while CRD has given him the gaudy nightmare spectacle of Nazism consuming German culture in Luchino Visconti's The Damned. And stick around for Caleb's update on his game Let Us Build a Tower. Tim apologizes for the odd fade-outs in the audio - something buggy happened with the recording, and he's trying to figure out how to make sure it doesn't happen again next time.

Ilaria Perversi"Lontano, lontanissimo"Edizioni Lapiswww.edizionilapis.itMartina è l'unica bambina della sua classe a compiere gli anni durante le vacanze estive. Ogni anno, alla fatidica domanda “Dove vuoi festeggiare il tuo compleanno?”, la risposta è sempre la stessa: “Lontano, lontanissimo!”. Così, tra montagne innevate, giungle misteriose e metropoli sfavillanti, Martina spegne le candeline in posti incredibili.Ma quest'anno qualcosa va storto. Un imprevisto la costringe a rimanere a casa, e Martina si ritrova ad affrontare una paura che non aveva mai voluto ammettere: e se, restando qui, nessuno si ricordasse del suo compleanno?Quello che scoprirà, però, è che l'affetto delle persone non ha bisogno di grandi viaggi per farsi sentire. Il vicino di casa finalmente può farle gli auguri il giorno giusto, la zia la chiama senza problemi di segnale, e la sua migliore amica è lì con lei. Alla sera, con una fetta della sua pizza preferita e un atlante tra le mani, Martina spegne le candeline senza esprimere un desiderio: non ce n'è bisogno.Un albo illustrato che parla di attese, insicurezze, della paura di essere dimenticati, del calore di chi ci vuole bene - ovunque ci troviamo - e dell'importanza di dare agli altri la possibilità di dimostrare il loro affetto. Età di lettura dai 5 anniIlaria PerversiNata e cresciuta a Milano, dopo un diploma in Digital Animation, decide di dedicarsi primariamente alla letteratura per l'infanzia in qualità di autrice e illustratrice con diverse case editrici italiane, ma Ilaria Perversi anche disegnando per giochi, magazine, video animati, app interattive. Insegna Animazione alla Civica scuola di cinema Luchino Visconti e Illustrazione per Feltrinelli Education.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Sim senhoras e senhores, este dia chegou: hoje Andreia D'Oliveira e Gabi Idealli irão nos levar pelas tramas da Literatura Russa através dos olhos de Fiódor Dostoievski e seu Noites Brancas. Noites Brancas - um dos textos que antecedem a prisão do autor na Sibéria - foi adaptado pelo diretor italiano Luchino Visconti em 1957, tendo Marcello Mastroianni e Maria Schell nos papeis principais. Comentado no Episódio O Médico e o Monstro, romance Robert Louis Stevenson O Retrato de Dorian Gray, romance de Oscar Wilde O Amante da Rainha (2012 ‧ Romance/Drama ‧ 2h 17m) Noites Brancas (1957 ‧ Romance/Drama ‧ 1h 37m) Noites Brancas (1959 ‧ Romance/Drama ‧ 1h 36m)

We discuss Visconti's final film, currently available to see through the BFI streaming service, in conjunction with the Visconti season recently held at the Southbank, and in a lush and lovely print. Richard had to convince me to podcast on this and I'm glad we did. We both think it a great film, without being anywhere near Visconti's greatest, a measure of the director's extraordinary achievements. Here we discuss it in relation to D'Annunzzio's original novel (The Intruder is the literal translation of the novel's Italian title); the lushness of décor and costuming, which sometimes seem a John Singer Sargent painting come to life; how the mise-en-scène vividly and complexly conveys character feeling, often without dialogue, and with such skill it can make a viewer swoony with admiration; we talk of how Alain Delon and Romy Schneider were originally cast and admire the performances of Giancarlo Giannini, Jennifer O'Neill, Laura Antonelli and Rina Morelli. It was also lovely to (barely) recognise Massimo Girotti, so beautiful in OSSESSIONE, as one of Giannini's rivals for Jennifer O'Neill's favours. We discuss the auction scene,and the fencing scene between husband lover in some detail; how the film reminds us of the 19th century novel in its narrative sweep, melodramatic accents and its dramatization of complex ideas (faith vs science, moral actions in a world without God, marriage vs free love, equality between the sexes, etc.). A world of feeling and desire, fuelled by melodrama; a beautiful film slightly marred by its ending. We discuss all of this and more here:

Throughout April the New Beverly Cinema proudly presents a collection of film treasures projected in glorious 35mm, including a stunning new film print of Richard Kelly's cult classic Donnie Darko, a triple feature of rarities starring pioneering icon Anna May Wong, and a pair of Rosanna Arquette comedies celebrating their 40th anniversaries. Plus, ‘70s rock operas, Schrader & Spielberg, The Dead End Kids, world cinema favorites directed by Luchino Visconti and Catherine Breillat, midnights, matinees, and much, much more. Brian, Elric and Phil are here to talk about all of it! Check out all things New Beverly here: https://thenewbev.com/ If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod Brian's Directed By shirts can be found here: https://www.teepublic.com/user/filmmakershirts The show is now on BlueSky: https://bsky.app/profile/purecinemapod.bsky.social As are Brian: https://bsky.app/profile/bobfreelander.bsky.social Elric: https://bsky.app/profile/elrickane.bsky.social and the New Beverly: https://bsky.app/profile/newbeverly.bsky.social

En 1860 Garibaldi desembarcó en Sicilia con sus camisas rojas y con el propósito de unificar al fin Italia. Es en ese momento en el que empieza El Gatopardo de Giuseppe Tomasi di Lampedusa. Una novela muy cultureta con una adaptación al cine de Luchino Visconti, muy cultureta también. Los culturetas aprovechan la nueva versión en formato serie de Netflix para hablar de esta historia sobre la decadencia de la aristocracia y el fin de una época. También hablamos de la nueva serie de Netflix, Adolescencia, y de la última polémica en el mundo editorial. Con Rubén Amón, Rosa Belmonte, Isabel Vázquez, Guillermo Altares y Sergio del Molino.

En 1860 Garibaldi desembarcó en Sicilia con sus camisas rojas y con el propósito de unificar al fin Italia. Es en ese momento en el que empieza El Gatopardo de Giuseppe Tomasi di Lampedusa. Una novela muy cultureta con una adaptación al cine de Luchino Visconti, muy cultureta también. Los culturetas aprovechan la nueva versión en formato serie de Netflix para hablar de esta historia sobre la decadencia de la aristocracia y el fin de una época. También hablamos de la nueva serie de Netflix, Adolescencia, y de la última polémica en el mundo editorial. Con Rubén Amón, Rosa Belmonte, Isabel Vázquez, Guillermo Altares y Sergio del Molino.

En 1860 Garibaldi desembarcó en Sicilia con sus camisas rojas y con el propósito de unificar al fin Italia. Es en ese momento en el que empieza El Gatopardo de Giuseppe Tomasi di Lampedusa. Una novela muy cultureta con una adaptación al cine de Luchino Visconti, muy cultureta también. Los culturetas aprovechan la nueva versión en formato serie de Netflix para hablar de esta historia sobre la decadencia de la aristocracia y el fin de una época. También hablamos de la nueva serie de Netflix, Adolescencia, y de la última polémica en el mundo editorial. Con Rubén Amón, Rosa Belmonte, Isabel Vázquez, Guillermo Altares y Sergio del Molino.

“Entre telas” ha recordado El gatopardo, una película hermosa de Luchino Visconti.

La magie de Venise au théâtre !Alors que le Carnaval de Venise vient tout juste de prendre fin, certains artistes font perdurer la magie de la Sérénissime sur scène et depuis la France ! « Titizé » est un spectacle dédié et créé à Venise l'été dernier, au Teatro Goldoni. Après avoir enchanté 15 000 spectateurs, ce « rêve vénitien » démarre sa tournée et fait sa grande 1ère française au Théâtre le 13ème art à Parigi ! Vous avez jusqu'au 6 avril pour vous offrir cette échappée belle onirique en Vénétie qui fait s'entremêler les arts du cirque, du théâtre et de l'opéra !Le voyage est le terrain de jeu de la compagnia Finzi Pasca ! C'est en parcourant le monde, en se produisant dans une cinquantaine de pays, depuis 40 ans, que ces artistes vagabonds « collectionnent les histoires qui soignent ». Et à chaque fois, leur poésie circassienne, devenue leur langage à part entière, nous entraine sur les routes de la vie, à leurs côtés !Le « Maestro » suisse-italien qui l'orchestre semble doté d'un pouvoir magique ! Des formes scéniques les plus confidentielles, jusqu'aux cérémonies de Jeux Olympiques qu'il a mises en scène à Turin en 2006 ou Sotchi en 2014, sans oublier les spectacles en collaboration avec le célèbre Cirque du soleil, il nous dépose à chaque fois « une caresse », ce geste d'empathie dont il a fait l'emblème de son théâtre.Bell'ascolto tout en douceur !Conçu, réalisé et présenté par Claire PlantinetMontage Générique : François PraudMusique : Happy Clapping Cinematic Score / PaBlikMM / Envato ElementsCréation visuelle : Thomas JouffritPodcast hébergé par Ausha· L'univers artistique de Daniele Finzi Pasca :Instagram : @danielefinzipasca & @compagniafinzipascaSite Internet : www.finzipasca.com/fr/Retrouvez la dernière création du metteur en scène, « Titizé - Un rêve vénitien » jusqu'au 6 avril, au théâtre le 13ème art, Place d'Italie à Paris.Instagram : @le13emeartSite Internet : www.le13emeart.comAdresse : Centre Commercial Italie Deux, 30 Pl. d'Italie, 75013 ParisTéléphone : 01 48 28 53 53· Les inspirations italiennes de Daniele Finzi Pasca :Le dramaturge italien et qui plus est... vénitien, Carlo Goldoni, qui a donné son nom au Teatro Goldoni di Venezia, le plus ancien théâtre de Venise toujours en activité, où « Titizé » a été créé l'été dernier !Les peintures vénitiennes de l'artiste Giambattista Tiepolo, source d'inspiration du spectacle !Dario Fo, Roberto Benigni, Massimo Troisi : les comédiens italiens qui maîtrisent l'art de la clownerie avec délicatesse et profondeur !Les œuvres sur Venise : Lire Marco Polo et pourquoi pas sa « Description du monde » (Ed. Le livre de poche), écouter Antonio Vivaldi et regarder « Mort à venise » de Luchino Visconti.· Archives épisodes : © Extraits « Titizé » de la Compagnia Finzi Pasca et BO du spectacle signée Maria Bonzanigo, Artesplorando « Tiepolo: vita e opere in 10 punti », Film « La Vita è Bella » scène de l'ombelico avec Roberto Benigni, Bande annonce spectacle « La Verità » de la Compagnia Finzi Pasca, spectacle « Icaro » avec Daniele Finzi Pasca, spectacle « Corteo » avec le Cirque du soleil, Bande Originale du film « Mort à venise » de Luchino Visconti.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Lange Pausen sind wir bei Serien mittlerweile gewohnt, aber die Fans von Netflix' "Daredevil" wurden besonders lange hingehalten. Vor 10 Jahren debütierte die Marvel-Serie mit Charlie Cox bei dem Streamer, 2018 wurde sie dann aus Rechtegründen abgesetzt. Nun erweckt Disney+ die Serie und ihre (Anti-)Helden als "Daredevil: Born Again" (4:10) zu neuem Leben - was allerdings nicht ohne Probleme geschah. Ein gefeuerter Showrunner und eine komplette Neuausrichtung später sind jetzt die ersten 9 der 18 Folgen zu sehen. Hat sich das auf die Qualität ausgewirkt? Das versuchen Holger, Michael und Rüdiger anhand der ersten zwei Folgen zu diskutieren. Danach geht es um die opulente Netflix-Miniserie "Der Leopard" (33:00), die nach mehr als 60 Jahren den gefeierten Roman von Giuseppe Tomasi di Lampedusa neu verfilmt. Kann das funktionieren wenn man nicht Burt Lancaster, Claudia Cardinale und Alain Delon vor sowie Luchino Visconti hinter der Kamera zur Verfügung hat? Zum Abschluss geht es dann um "1923" (1:00:30), schließlich ist wieder Freitag, was bedeutet, dass Taylor Sheridan eine neue Serienstaffel für Paramount+ fertig geschrieben und gedreht hat. Die ersten beiden neuen Folgen haben zwar Harrison Ford, Helen Mirren, einen Berglöwen und einen Wolf zu bieten, aber haben sie auch was zu erzählen? Da sind wir uns bisher noch nicht ganz sicher. Cold-Open-Frage: "Wen würden wir gerne in der ,Crazy Rich Asians'-Serie sehen?"

We didn't manage to get to much of the recent Luchino Visconti retrospective at BFI South Bank but we somehow wanted to mark the moment, and how better than a discussion of BELLISSIMA (1951), particularly through the great Eureka/ Masters of Cinema blu-ray. We discuss its themes of obsession, mother love, fantasy, cinema, the effects of media on private and collective aspirations; how it's a film that announces its fluency from the opening shots; its relation to neo-realism through on-location shooting and the use of non-professional actors; Anna Magnani's tour de force performance, drawing particular attention to the scene where she gets the neighbours involved in the beating by her husband; we note how it's an unusual film for Visconti in that it's central role is a woman's role, a vehicle for Magnani; we discuss the elements of camp, something not usually associated with Visconti; a very entertaining film of great depth; a critique of cinema by one of its greatest exponents; a film one can't imagine bettered; a film worth seeing

I hope that none of you have ever experienced the intrusion of some bad neighbors. Certainly not to the point that they force you to rent out your prospective second library and refurbish it to become a garish 1970s Post-Modern monstrosity.This is the crux of the film CONVERSATION PIECE, written and directed by master filmmaker Luchino Visconti. It stars Burt Lancaster as the central character. This film is a real treat that is handled with finesse and grace. It's an anxiety-inducing mystery tale about loneliness, generational differences, and lamenting on your past.Just remember, when all the dust settles, it all started because of a painting.

India Mahdavi dessine des endroits dans lesquels on se sent bien, plein de rondeurs, de couleurs, de sensualité, de chemins de traverse aussi. A l'image de son Bishop, ce tabouret inspiré par la pièce du fou au jeu d'échecs, qui est devenu une de ses signatures. Cette architecte d'intérieur et designer est parmi les plus reconnues de notre époque. Elle a notamment créé les décors de l'Hôtel Townhouse à Miami et de The Gallery at Sketch à Londres et les espaces de boutiques Ladurée.Parmi ses réalisations récentes, la rénovation des chambres de la Villa Médicis, à Rome, ou encore les intérieurs du Musée PoMo, qui, à Trondheim, en Norvège, vient d'ouvrir ses portes. Au sujet de cet ancien bureau de poste, elle explique : « J'ai beaucoup travaillé sur des fragments du bâtiment qui sont des lieux interstitiels, comme une salle de lecture où on a voulu renouer avec la tradition de l'ornementation folklorique norvégienne. »Elle accueille « Le Goût de M » rue Lacaze, dans le 7e arrondissement à Paris, où elle a recréé tout un écosystème : un studio de création, une boutique, un showroom et deux espaces d'exposition. Celle qui est née en Iran a connu plusieurs domiciles dans son enfance, aux Etats-Unis, en Allemagne, mais aussi en France. A Saint-Paul-de-Vence, elle goûte à la pédagogie libre de l'école Freinet et s'émerveille de l'architecture contemporaine de la Fondation Maeght. En allant au cinéma, elle découvre des réalisateurs comme Stanley Kubrick, Federico Fellini, Luchino Visconti, pour qui les décors sont des personnages à part entière. Elle confie aussi son admiration pour le chef décorateur britannique Ken Adam, qui a œuvré sur de nombreux James Bond.Depuis six saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Juliette SavardRéalisation : Emmanuel BauxMusique : Gotan Project Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

durée : 00:03:38 - Le Regard culturel - par : François Angelier - En 1976, sort en salle, le 14ᵉ et dernier film de Luchino Visconti, "L'Innocent", un drame social sordide et vénéneux où se mêle, au sein de la haute société italienne, ravage du désir et cupidité. Studio Canal en publie une édition de référence.

On this episode, we're staying in the late sixties as we watch Luchino Visconti's The Damned (1969). Following our exploration rising authoritarianism in Costa-Gavras' Z (1969) and reactionary Brazilian politics in Glauber Rocha's Entranced Earth (1967), we're heading right into the Nazi den that is the von Essenbeck family in late 1930's Germany. A scathing critique of the German industrial elite's seduction by (and complicity in) the rise of Nazism, Visconti shows how a wealthy family's greed and moral corruption lead them to embrace fascism in order to maintain their social and economic status.  Watching the family's willful, strategic cruelty, we see how the wealthy can easily transition from aristocratic privilege to supporting authoritarian rule. It's quite an illustration of how capitalism and fascism intertwine. If it's been a while since you've seen it, The Damned will resonate deeply with a revisit.   On a lighter note, by watching some Visconti, Aaron finally understands how Isaac feels about Godard. Follow us at: Patreon / Instagram / Letterboxd / Facebook 

Luchino Visconti's last film

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Ian Fleishman develops the concept of failed passing in his new book Flamboyant Fictions, which reimagines free will in queer lives as an accidental affirmation of identity despite efforts towards adherence to standards and norms. In this, he works with his predecessors in queer theory like Judith Butler, José Muñoz, Leo Barsani, Lee Edelman and others. In our conversation, Ian also gives us a glimpse of his readings of failed passing in widely varying texts such as the works of André Gide and Jean Genet and the films of Luchino Visconti, Rainer Werner Fassbinder, Werner Schroeter, Todd Haynes, François Ozon, and Xavier Dolan, to the music and public persona of Shawn Mendes and Troye Sivan. Ian Fleishman is the inaugural Chair of the Department of Cinema & Media Studies at the University of Pennsylvania and the author of Flamboyant Fictions: The Failed Art of Passing (Northwestern 2024). His previous books are An Aesthetics of Injury: The Narrative Wound from Baudelaire to Tarantino (Northwestern 2018) and Performative Opacity in the Work of Isabelle Hupert (Edinburgh 2023), co-edited with Iggy Cortez. Image: From the cover of Flamboyant Fictions, by Monograph / Matt Avery Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Luchino Visconti's powerful melodrama set in the Risorgimento

En una nueva edición de Página 13 dedicada al cine, Iván Valenzuela conversó con los columnistas Ascanio Cavallo y Antonio Martínez sobre “Bagman”, “Jurado N°2” y los 70 años de “Livia” (1954) de Luchino Visconti.

Biba Giacchetti"L'arte della fotografia di moda: Giampaolo Barbieri"E' scomparso all‘età di 89 anni Gian Paolo Barbieri, una vera istituzione nell'ambito della fotografia di moda. I suoi ritratti iconici di dive di ieri e di oggi, come Audrey Hepburn e Monica Bellucci, e la sua lunga collaborazione con Vogue Italia, hanno reso il suo stile inconfondibile.Nato nel 1935 in via Mazzini, appena a fianco del Duomo di Milano, da una famiglia di grossisti di tessuti dove acquisì le prime competenze utili per la fotografia di moda, Barbieri mosse i suoi primi passi nell'ambito teatrale come attore, operatore e costumista, tanto che ebbe anche una piccola parte non parlata in Medea di Luchino Visconti. Fu il cinema a dargli quel senso del movimento che trasferì nella fotografia, prima applicata alla Dolce vita romana e poi alla moda, a Parigi.Nel 1964 il ritorno a Milano e l'apertura del primo studio fotografico: iniziò in quel momento quella sfolgorante e sessantennale carriera che lo portò a collaborare con personaggi di primo piano della moda come Diana Vreeland, Yves Saint Laurent e Richard Avedon, a ritrarre le attrici più iconiche di tutti i tempi, da Audrey Hepburn a Veruschka, da Monica Bellucci a Jerry Hall, a scattare le campagne pubblicitarie di marchi internazionali come Valentino, Gianni Versace, Gianfranco Ferré, Armani, Bulgari, Chanel, Yves Saint Laurent, Dolce & Gabbana, Vivienne Westwood.Classificato nel 1968 dalla rivista Stern come uno dei quattordici migliori fotografi di moda al mondo, nel 2018 Barbieri ha vinto il premio Lucie Award 2018 come Miglior Fotografo di Moda Internazionale. Le sue opere sono presenti in istituzioni culturali come il Victoria & Albert Museum e la National Portrait Gallery di Londra, il Kunsforum di Vienna, il MAMM di Mosca e il Musée du Quai Branly di Parigi.    Steve McCurry "Children"Dal 20 dicembre 2024 al 4 maggio 2025 le sale del Palazzo dei Priori di Fermo ospitano la mostra Steve McCurry - Children, ideata e curata da Biba Giacchetti. Oltre cinquanta fotografie dedicate all'infanzia vista attraverso l'obiettivo del grande fotografo Steve McCurry, realizzate nell'arco di quasi cinquant'anni di carriera.Una galleria di ritratti per esplorare tutte le sfaccettature dell'infanzia, accomunate da un elemento universale: lo sguardo dell'innocenza. Le immagini, provenienti da ogni angolo del mondo, ritraggono i più piccoli in scene di vita quotidiana. I bambini negli scatti di McCurry, pur diversi per etnia, abiti e tradizioni, condividono la gioia di vivere e la capacità di giocare anche nei contesti più difficili, spesso segnati da povertà, conflitti o condizioni ambientali estreme. Il pubblico sarà accompagnato in un viaggio ideale in paesi come India, Birmania, Pakistan, Tibet, Afghanistan, Libano, Etiopia e Cuba.“Ogni immagine offre uno spaccato delle condizioni sociali più disparate, rivelando una condizione umana universale fatta di sentimenti comuni e sguardi che affermano la stessa dignità”, spiega la curatrice.“Incontriamo bambini profughi e lavoratori, giovani che trasformano un cannone arrugginito in un gioco, che rincorrono un pallone sotto la pioggia, che creano musica con chitarre fatte di materiali di scarto. Bambini che vivono nelle grandi metropoli o nei villaggi più remoti, protagonisti di storie di gioia e aggregazione, solitudine e resilienza, solidarietà e stupore”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

«Al principio, adolescentes, soñamos un poco, nos aceptamos libres; basta la seguridad de un sueldo, de un alojamiento, algo de eso que creemos amor y un gran miedo a todo lo demás, para que uno, ya sometido a la colectividad acabe en lo que es peor, vivir comprometido: hacer algo, bueno o malo, pero en definitiva diferente de aquello que habríamos querido hacer». Luís García Berlanga describió la realidad social, en la dictadura y en la democracia, de este curioso país que es España. Antiguos episodios con Boro: K11. Boro Mas. Ganarse la vida. K61. Boro Mas. La verdad de las mentiras. K83. Boro Mas & Teresa. Mad Men. K101. Luis Martín Cabiedes & Boro Mas. Gracias por dudar. K119. Omar Pera & Boro Mas. Inteligencia artificial. Corralito #2 ft. Boro Mas. Stanley Kubrick. Kapital es posible gracias a sus colaboradores: ⁠Cuidado con las macros ocultas⁠. El podcast de Cuatroochenta Del wow a la práctica. El nuevo episodio del podcast de Cuatroochenta explica cómo y para qué están integrando las compañías los modelos de IA. Empresas como Repsol o Microsoft detallan qué herramientas están utilizando, en qué tareas concretas y con qué resultados. ¿Qué retos plantea el uso de la IA? ¿Es la sobreconfianza uno de los mayores riesgos? ¿Cómo debe prepararse el mercado laboral para este nuevo escenario? ¿Quieres saber cómo será tu trabajo dentro de uno o dos años? Escucha el episodio en tu plataforma de audio favorita y en su web. Patrocina Kapital. Toda la información en este link. Índice: 1:25 La exposición en el CaixaForum. 8:10 Un plano secuencia en Patrimonio nacional. 15:06 Ábalos sería personaje de Berlanga. 24:33 La censura como herramienta creativa. 34:52 Un siglo ya con los mismos problemas. 42.30 Que Franco te considere un mal español. 47:09 «No, no entendí la guerra. Si no entendí la vida, ¿cómo voy a entender la guerra?» 58:45 Siente un pobre en su mesa. 1:07:31 Buscar las ideas en una cafetería. 1:12:38 «Perdemos demasiado fácilmente la dignidad de ser libres». 1:20:33 Trilogía sobre la vida en pareja. 1:34:53 El genio de Rafael Azcona. 1:43:39 Escribir sin meter propaganda. 1:50:14 «We learned more from a three-minute record, baby, than we ever learned in school». Apuntes: Esa pareja feliz. Juan Antonio Bardem & Luis García Berlanga. Bienvenido, Mister Marshall. Luís García Berlanga. Calabuch. Luís García Berlanga. Plácido. Luís García Berlanga. El verdugo. Luís García Berlanga. La escopeta nacional. Luís García Berlanga. La vaquilla. Luís García Berlanga. Todo Azcona: Obra literaria completa. Rafael Azcona. El pisito. Marco Ferreri. El cochecito. Marco Ferreri. Rocco y sus hermanos. Luchino Visconti. El último austrohúngaro. Manuel Hidalgo & Juan Hernánez Les. Conversaciones con Billy Wilder. Cameron Crowe. El cuaderno gris. Josep Pla. Blasco Ibáñez. Luís García Berlanga. MANIAC. Benjamín Labatut. Un verdor terrible. Benjamín Labatut.

Felicia is joined by Geoff Thomas to discuss the effects of capitalism on an old man and his dog in Vittorio De Sica's Umberto D. (1952). We chat about this film as a bridge between De Sica's as a neo-realist filmmaker and his move towards comedies. Along with the themes of questioning the moral compass of authority figures present in this film. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episodes with Geoff: Diary of a Chambermaid (Luis Buñuel 1964) The Silence (Ingmar Bergman 1963) Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Spotify: @cinematicmeoriespodcast Spotify: @dontdespisemepodcast Apple Podcasts: @cinematicmemoriespodcast Apple Podcasts: @dontdespisemepodcast Sources: https://web.archive.org/web/20110721100149/ http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45 https://www.criterion.com/current/posts/292-seeing-clearly-through-tears-on-the-smart-sentiment-of-umberto-d https://www.nytimes.com/1955/11/08/archives/screen-honest-realism-de-sicas-umberto-d-is-story-of-old-man.html https://www.deepfocusreview.com/definitives/umberto-d/ https://cinemafromthespectrum.com/2017/02/24/umberto-d-review/ OUTRO SONG: Umberto D. by Alessandro Cicognini FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Diary of a Chambermaid (Luis Buñuel 1964) Bicycle Thieves (Vittorio De Sica 1948) The Leopard (Luchino Visconti 1963) Ikiru (Akira Kurosawa 1952) Shoeshine (Vittorio De Sica 1946) The Third Man (Carol Reed 1949) Miracle in Milan (Vittorio De Sica 1951) Terminal Station (Vittorio De Sica 1953) After the Fox (Vittorio De Sica 1966) The Voyage (Vittorio De Sica 1974) Sunflower (Vittorio De Sica 1970) Two Women (Vittorio De Sica 1960) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Boccaccio ‘70 (Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti 1962) Rebecca (Alfred Hithcock 1940) Il boom (Vittorio De Sica 1963) Anora (Sean Baker 2024) Wild Strawberries (Ingmar Bergman 1957) Tokyo Story (Yasujirō Ozu 1953)

Felicia is joined by Jason Christian to discuss the story of two young boys who just want to buy a horse but get sent to a juvenile prison instead, in Vittorio De Sica's Shoeshine (1946). We chat about De Sica's ability to get natural performances out of children, and how important it was to explore the lives of orphaned children after the war. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Jason here: Website: https://jasonchristianwrites.com/ Letterboxd: @exilemagic Twitter: @jasonachristian Cold War Cinema Podcast on Spotify: @coldwarcinema Cold War Cinema Podcast on Apple: @coldwarcinema Sources: https://www.film-foundation.org/rsr-november-2023 https://www.asharperfocus.com/shoeshine.html https://postmodernpelican.com/2022/12/16/shoeshine-1946/ OUTRO SONG: Shoeshine by Alessandro Cicognini FILMS MENTIONED: The Lawless (Joseph Losey 1950) Night and the City (Jules Dassin 1950) Body and Soul (Robert Rossen 1947) Quicksand (Irving Pichel 1950) Rosetta (Luc Dardenne, Jean-Pierre Dardenne 1999) Miracle in Milan (Vittorio De Sica 1951) The Young and the Damned (Luis Buñuel 1950) The Gate of Heaven (Vittorio De Sica 1945) The Children Are Watching (Vittorio De Sica 1944) Heart and Soul (Vittorio De Sica 1948) Bicycle Thieves (Vittorio De Sica 1948) Umberto D. (Vittorio De Sica 1952) Sunflower (Vittorio De Sica 1970) The Witches (Franco Rossi, Mauro Bolognini, Luchino Visconti, Pier Paolo Pasolini, Vittorio De Sica 1967) After the Fox (Vittorio De Sica 1966) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Two Women (Vittorio De Sica 1960) The 400 Blows (François Truffaut 1959) The Kid with the Bike (Luc Dardenne, Jean-Pierre Dardenne 2011) Boot Polish (Prakash Arora 1954) Where's The Friend's House (Abbas Kiarostami 1987) I Was Born, But… (Yasujirō Ozu 1932) Welcome to the Dollhouse (Todd Solondz 1995) Good Morning (Yasujirō Ozu 1959)

Episode Description:Welcome back, Queernundrum listeners! Today, we're bringing you a special episode that highlights two incredible individuals from different eras, both of whom have left their marks on queer culture and art: Chappell Roan, the rising pop sensation with a flair for queer anthems, and Dirk Bogarde, a pioneering actor who used his career to challenge societal norms and expand LGBTQ+ representation in cinema. Though their stories come from different corners of the entertainment world, both are connected by their courage, creativity, and commitment to authenticity.Grab your favorite beverage, get comfy, and let's dive into the bold beats and boundary-breaking moments of Chappell Roan and Dirk Bogarde!Episode Highlights:Chappell Roan – Queer Pop Star in the Making:We explore Chappell Roan's rise as an independent queer pop artist and how she's used her platform to celebrate LGBTQ+ liberation.Her breakout single "Pink Pony Club" has become an anthem of queer joy and self-discovery, offering a safe space for young LGBTQ+ individuals to feel seen and accepted.Discuss her commitment to creating safe, inclusive environments at her concerts, where fans are encouraged to celebrate their identities and feel empowered.Highlight Chappell's activism and philanthropy, including her collaborations with LGBTQ+ organizations like The Trevor Project, focusing on mental health and queer youth support.Dirk Bogarde – The Original Boundary Breaker:We dive deep into Dirk Bogarde's extraordinary career, from his early roles in British comedies to his groundbreaking performances in socially conscious films like Victim (1961).Bogarde's portrayal of a barrister blackmailed for his homosexuality in Victim was revolutionary, as it tackled LGBTQ+ issues at a time when homosexuality was still illegal in the UK.Explore his later work with directors like Joseph Losey and Luchino Visconti in films such as The Servant and Death in Venice, where he continued to push boundaries around sexuality, class, and human desire.Discuss how Bogarde's private life, including his close relationship with Anthony Forwood, reflected the complexities of being a gay man in a less accepting era, and how his courage paved the way for more honest portrayals of LGBTQ+ lives in cinema.Call to Action:Engage with Us: What do Chappell Roan and Dirk Bogarde mean to you as trailblazers for queer representation in their respective fields? Join the conversation on our social media platforms and share your thoughts!Support Queer Artists: Consider streaming Chappell Roan's latest music or revisiting some of Dirk Bogarde's most iconic films. Supporting queer art keeps the legacy of these boundary-breakers alive.Resources and Further Reading:Chappell Roan's: NBC New ArticleThe Trevor Project and LGBTQ+ Mental Health Resources: [Link]Intro music by Jahzzar “Please Listen Carefully” “Jahzzar (betterwithmusic.com) CC BY-SA” and Outro music by Scott Holmes “Acoustic Indie Folk” @ scottianholmes@live.com.Editor: H. Greystone via FinalCut ProWriter: G. Thoren

For today's great political film David discusses Luchino Visconti's The Leopard (1963) with the Italian historian of ideas Lucia Rubinelli. How did a communist aristocrat from Milan come to make a film about a Sicilian prince? How did Burt Lancaster get cast in the leading role? Is this a political film or a film against politics? And what is the real meaning of the celebrated line: ‘If we want things to stay as they are, things must change…'?Looking for Christmas presents? We have a special Christmas gift offer: give a subscription to PPF+ and your recipient will also receive a personally inscribed copy of David's new book The History of Ideas. Find out more https://www.ppfideas.com/giftsNext time: Dr Strangelove & Fail Safe w/ Jill Lepore Hosted on Acast. See acast.com/privacy for more information.

Luchino Visconti, el director aristócrata que abrazó el comunismo, es el protagonista de este episodio. Exploramos cómo su linaje noble en Milán influyó en su obsesión por la belleza y la decadencia, mientras su compromiso político con el comunismo impregnaba su cine con una mirada crítica sobre la lucha de clases. Desde su primer éxito con Ossessione hasta su grandiosa adaptación de El Gatopardo, Visconti creó un cine que retrataba el fin de las aristocracias y el surgimiento de nuevos órdenes sociales. También hablamos de su relación con el actor Helmut Berger, su muso y amante, y cómo su vida personal se entrelazó con su arte. Visconti es recordado por su perfeccionismo, su pasión por la ópera, y sus obras que mezclaban lo sublime con lo trágico. Playlist del episodio: https://open.spotify.com/playlist/0YFyALfrqEJSIc4jfRzhle?si=b4a8ae9458434733

Lecture par l'auteur & Sophie Marceau Stockholm, hiver 1970. Le jeune Björn, quinze ans, se présente aux auditions de Mort à Venise. Il ignore que sa rencontre avec Luchino Visconti est sur le point de changer sa vie : le maestro a trouvé « le plus beau garçon du monde ». Deux destins s'entremêlent, unis par cette beauté – offerte à l'un, révérée par l'autre. C'est l'histoire d'un orphelin et de sa traversée du miroir aux alouettes ; l'histoire d'une famille souveraine et victorieuse dont les relents, déjà, se font sentir. Les armoiries des Visconti étaient formelles : le serpent, toujours, dévore l'enfant. D'une plume virtuose, Guillaume Perilhou dépeint l'écrin doré des palais vénitiens, ou le théâtre funeste du monde ancien. Ce soir, il donne voix à Visconti au côté de Sophie Marceau qui fera entendre ce Björn dont elle ne peut que comprendre l'adolescence starifiée. À lire – Guillaume Perilhou, La couronne du serpent, éd. de l'Observatoire, 2024. Sophie Marceau, La souterraine, Seghers, 2023

Is there one simple thing that would fix the world?    Building on recent discussions around monolithic goals and sympathising with emerging rivals, this week's episode examines Luchino Visconti's 'The Leopard' to consider the impermanence of permanence on both the political and personal level. We also briefly discuss: 'Tokyo Story' (1953) d. Yasujirō Ozu 'The Last Emperor' (1987) d. Bernardo Bertolucci    Contact Us E: ⁠contact@jimmybernasconi.com⁠ IG: ⁠https://www.instagram.com/filmsfortoday/⁠ 

Que vous ayez envie de prolonger un peu les vacances en allant (au hasard) dans la chaleur madrilène ou l'Italie du Risorgimento ou qu'au contraire l'ambiance d'Halloween vous donne envie de vous faire peur avec des rites payens ou de tester vos connaissances en éco, cet épisode est fait pour vous!! Vos chroniqueur.euses vont aborder 4 de leurs coups de

Estrenamos nueva sección en la que Julián Casanova elegirá  una gran película basada en una gran novela y a partir de ella aprenderemos historia. En esta ocasión, la cinta escogida es 'Gatopardo' de Luchino Visconti. 

Welcome to another episode of the GGtMC!!! This week we pay tribute to the late Alain Delon and talk about Rocco And His Brothers (1960) directed by Luchino Visconti!!! Emails to midnitecinema@gmail.com Adios!!!

Toda Francia despedirá este sábado al actor Alain Delon, que falleció el domingo pasado a la edad de 88 años . Los funerales tendrán lugar en la localidad de Douchy, donde Delon residía. Luego los restos serán inhumados en una cripta construída en su finca. Alain Delón fue el actor francés más carismático y famoso de la historia del cine. Trabajó en unas 90 películas y estuvo bajo la dirección de afamados directores como Jean Luc Godard o Luchino Visconti. Con este último, protagonizó Gatopardo, una de sus actuaciones más conocidas. Delon además fue director de cine, incursionó en la música, fue criador de caballos y un apasionado del boxeo. A raíz de esa afición entabló amistad con el boxeador argentino Carlos Monzón, de quien organizó varias peleas en Francia. La Tertulia de los Viernes con Alejandro Abal, Marcia Collazo, Juan Grompone y Gonzalo Pérez del Castillo.

durée : 00:04:10 - Le Reportage de la Rédaction - "La grande bellezza" c'est la une du quotidien romain "Il Messaggero" ce matin pour rendre hommage à d'Alain Delon. Le comédien français était très populaire chez nos voisins, en particulier grâce à ses films devant les caméras de Luchino Visconti et Michelangelo Antonioni.

Jackie and Greg are joined by Felicia Maroni of the Seeing Faces in Movies podcast for Luchino Visconti's THE LEOPARD from 1963. Topics of discussion include Burt Lancaster's performance as an Italian prince, the film's scale, how it holds its characters at a distance, and whether it should be the only Visconti on the list or not.#57 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#90 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck out 'Seeing Faces in Movies' hosted by Felicia Maronihttps://www.seeingfacesinmovies.comCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJP Instagram/X (Twitter): jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the Show.Support the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

On this episode of What a Picture, Bryan and Hannah keeps getting interrupted by the orchestra while they discuss The Leopard, the 1963 movie directed by Luchino Visconti that ranks #90 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Email us at podcast@whatapicturepod.com What a Picture website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://whatapicturepod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Social Media: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

En este episodio, exploramos el cine y su impacto en la visibilidad LGTBI+, destacando a cineastas que han desafiado estereotipos y normalizado identidades queer. Analizamos las contribuciones de Pedro Almodóvar y Luchino Visconti, dos directores icónicos en la representación LGTBI+. Pedro Almodóvar, con su estilo único, ha utilizado colores vibrantes y personajes excéntricos para explorar la sexualidad y la identidad. Obras como La ley del deseo (1987) y Todo sobre mi madre (1999) han sido fundamentales en la visibilidad LGTBI+ en España y globalmente. Su trabajo desafía normas sociales y celebra las identidades queer. Luchino Visconti, con películas como Muerte en Venecia (1971), aborda la homosexualidad y la obsesión con una profundidad emocional. Su representación artística de temas LGTBI+ ha influido en generaciones de cineastas y ha contribuido a una mayor aceptación de la diversidad sexual en el arte. El cine sigue siendo una herramienta poderosa para el cambio social, promoviendo la empatía y la aceptación. Continuar apoyando narrativas diversas y cineastas inclusivos es crucial para reflejar auténticamente la experiencia humana en todas sus formas. Las músicas de esta semana: https://open.spotify.com/playlist/4jcQ1vNFfauIEgpZG1PW7o?si=c97269fe4c684e27

In the thirty-seventh episode of Season 10: Dealer's Choice, Kyle is joined for a one-on-one conversation with screenwriter David Gutierrez to discuss the operatic tragedy about a family fractured by the forceful nature of displacement and modernization within the economic disruption of Italy in Luchino Visconti's excellent melodrama Rocco and His Brothers (1960). 

durée : 00:58:11 - Toute une vie - par : Simone Douek - D'abord au théâtre, Luchino Visconti met en scène des auteurs contemporains et classiques, mais aussi des opéras. Plus tard, dit un des interlocuteurs de ce documentaire, il vient au cinéma avec "tout l'héritage de la peinture italienne, de l'opéra, de la musique et de la littérature". - invités : Gioacchino Lanza Tomasi Fils adoptif de Lampedusa, éditeur de son oeuvre chez Mondadori; Youssef Ishaghpour

Le terrible traumatisme provoqué par la Shoah et les horreurs du régime concentrationnaire nazi n'ont pas empêché certains cinéastes de s'en inspirer d'une manière particulièrement malsaine.Ils sont à l'origine d'un genre nommé "nazisploitation" ou, de manière plus explicite, "nazi porn" ou "gestaporn". Il est illustré par de nombreux films d'exploitation, autrement dit des bandes à petit budget, tournés à la va-vite et sans préoccupations artistiques.Ces films mettent en scène des personnages sadiques et violents, qui s'acharnent sur leurs victimes. Le cadre est souvent un camp de concentration ou une maison close.Divers sévices, souvent à caractère sexuel, y sont complaisamment montrés, avec une violence qui confine parfois au "gore", ce genre cinématographique dans lequel le sang coule à flot.La qualité esthétique de certains films, et la réputation de leurs auteurs, leur vaut de ne pas être rangés dans la peu glorieuse catégorie de la "nazisploitation".Et pourtant, ils mettent en scène des histoires troubles, qui se déroulent durant la période nazie. Ainsi, le film de Luchino Visconti, "Les damnés" (1969), qui raconte les accointances d'une famille d'industriels allemands avec les nazis, montre des scènes d'orgie et de violence.Quant au film de Liliana Cavani, "Portier de nuit" (1974), il dépeint les relations sadomasochistes qui se sont nouées entre le médecin d'un camp de concentration et une de ses anciennes détenues.Mais la plupart des films ayant exploité cette veine ne peuvent pas invoquer le moindre caractère artistique. Leur nom même en dit assez long sur leurs ambitions.En effet les auteurs de films comme "SS experiment camp" (1976), "Horreurs nazies, le camp des filles perdues" (1977) ou encore "Hôtel du plaisir pour SS" (1977) cherchent seulement à pimenter la violence et la pornographie de leurs histoires en les plaçant dans un cadre propice à toutes les perversions.Et de fait, ces "œuvres" de série B, ou même Z, ont su attirer leur public, surtout dans les années 1970. En effet, le genre a fini par disparaître au cours de la décennie suivante. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Writer and critic Eamon Tracy joins to discuss the brilliant James Gray and his debut feature 'Little Odessa' starring Tim Roth, Edward Furlong, and Vanessa Redgrave. Made when Gray was just 23 years old, it's a semi-autobiographical story that merges a character study of an estranged Russian-Jewish family with elements of the crime genre to arrive at something that pulls from the films of Francis Ford Coppola, Sidney Lumet and Luchino Visconti in equal measure.We begin by discussing the career of James Gray, his undersung filmography, and his reputation as a notoriously great interview subject. Then we explore the world of 'Little Odessa', its melodramatic flourishes, stunning camerawork, and deliberate tone and pacing. Finally, we look forward to what might be next for Gray as a filmmaker, having last released the film 'Armageddon Time' which functions as a compelling bookend to the director's three decades in filmmaking.Read Eamon's recent piece on 'The Battle of Algiers' and its relation to Palestinian resistance for The Hampton InstituteFollow Eamon Tracy on Twitter....Our theme song is "Mirror" by Chris Fish.

In this ambitious research-filled exploration of one of Italian cinema's most fascinating & influential figures, Canadian actor-writer-podcaster Robert Bellissimo returns to the podcast to discuss the singularly daring maestro Luchino Visconti. An aristocratic count turned Socialist who fought the Nazis as a member of the Italian Resistance & was sentenced to death before fate & history intervened & he was eventually able to testify & help sentence to death the man who tortured him during WWII, Luchino Visconti is a man who lived a thousand lifetimes before he became one of the most acclaimed & groundbreaking directors of the twentieth century.The man behind arguably the first Neorealist feature, the film noir OSSESSIONE (which was made before Hollywood adapted the same James M. Cain novel as THE POSTMAN ALWAYS RINGS TWICE), in this rich episode, we discuss three of his towering, staggeringly beautiful, & emotionally devastating works, including ROCCO AND HIS BROTHERS (which inspired both THE GODFATHER & RAGING BULL), THE LEOPARD, & DEATH IN VENICE. Delving into the history, significance, analysis, text, & subtext of these remarkable movies, this is a conversation to listen to with a notebook as it might send you on the hunt for more incredible features.Robert's Bio: Robert Bellissimo is an actor, acting teacher, and YouTube video podcaster. He is also an ongoing contributor to two Toronto film critics' websites, IN THE SEATS and SCREENFISH. Robert's YouTube channel - Robert Bellissimo at the Movies - is an exploration of all things cinema, which includes reviews and in-depth interviews with guests who work in film.Originally Posted on Patreon (3/26/24) here: https://www.patreon.com/posts/101108059Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music ArchiveShop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

David provides a video overview of Visconti's maligned late career masterwork and extends his coverage in a conversation with Brad McDermott

David provides a video overview of Visconti's maligned late career masterwork and extends his coverage in a conversation with Brad McDermott