If we were to draw up a list of directors who have contributed to making cinema another art form, without a shadow of a doubt a prominent place would be occupied by Luchino Visconti, whose way of bringing reality to the screen will be counted as one of the masters of the art of filmmaking in the twentieth century. From birth, the young Luchino Visconti absorbed the culture of the privileged environment that surrounded him, thanks in part to a strict family upbringing that led him to become passionate about music, literature, theater and painting. In a historical period that had seen Fascism take control of any means of communication in order to turn it into an instrument of propaganda, Luchino's work unhinged any nationalistic imprint from the very beginning in order to represent truth on the screen. From this intent was born the neorealist cinema, of which Visconti was one of the fathers, whose first interest was to tell a story, but also an ideal, a vision of the world. The latter will be brought back through the use of sets, colors, gestures, images and expressions that communicate more than dialogue. We could say that neorealist cinema comes very close to what was "genre painting," a type of pictorial representation born in the 16th century that had as its main subject those who had always been considered "the invisible" of society, the humble. For the first time, in fact, the protagonists were subjects belonging to the lowest social class; peasants, workers, families filmed in moments of daily life such as village festivals, or engaged in their usual trades. Likewise, the stories proposed by neorealist cinema would concern the poorer classes, their living conditions, the historical period that Italy was going through and the partisan resistance. The great love between the director and figurative art would strengthen during his travels to Paris, thanks to his acquaintance with leading figures of the time, including Jean Renoir, Dali and Picasso. And it is precisely this attachment to painting that is to be perceived in much of Visconti's film work, who through his skillful ability will succeed in constructing sequences capable of telling a story without even the need to use words. Pictorial art will not be used by Luchino's cinematography solely in direct quotations to more or less popular paintings from art history, which will be actualized and reinterpreted in a modern key. In fact, the style characterizing the director's photography clearly appeals to painting, whose play of light and shadow, tones and colors of representation will become the bearers of a message that goes beyond the mere aesthetic beauty of the sequence. The "painterliness" of his films will become one of the major elements of recognition of Visconti's art. In a world today overwhelmed by the use of media, the celebrated director was one of the first to understand the communicative power of combining several languages into one, making cinema an instrument capable of uniting past, present and future.
Se dovessimo stilare un elenco dei registi che hanno contribuito a rendere il cinema un’altra forma d’arte, senz’ombra di dubbio un posto di riguardo lo occuperebbe Luchino Visconti, che con il suo modo di riportare la realtà sullo schermo sarà annoverato come uno dei maestri dell’arte cinematografica del Novecento. Fin dalla nascita, il giovane Luchino Visconti assorbì la cultura dell’ambiente privilegiato che lo circondava, grazie anche ad una severa educazione familiare che lo portò ad appassionarsi alla musica, alla letteratura, al teatro e alla pittura. In un periodo storico che aveva visto il fascismo prendere il controllo di qualsiasi mezzo comunicativo al fine di farne uno strumento di propaganda, l’opera di Luchino scardinò fin dall’inizio ogni impronta nazionalistica, al fine di rappresentare la verità sullo schermo. Da questo intento nacque il cinema neorealista, di cui Visconti fu uno dei padri, il cui primo interesse era raccontare una storia, ma anche un’ideale, una visione del mondo. Quest’ultima verrà riportata grazie all’utilizzo di scenografie, colori, gesti, immagini ed espressioni che comunicano più di quanto non facciano i dialoghi. Potremmo affermare che il cinema neorealista si avvicina molto a quella che era la "pittura di genere", una tipologia di rappresentazione pittorica nata nel XVI secolo che aveva come soggetto principale coloro che erano sempre stati considerati "gli invisibili" della società, gli umili. Per la prima volta, infatti, i protagonisti erano soggetti appartenenti alla più bassa classe sociale; contadini, lavoratori, famiglie riprese in momenti di vita quotidiana come feste di paese, o impegnate nei mestieri abituali. Allo stesso modo, le storie proposte dal cinema neorealista interesseranno i ceti più poveri, le loro condizioni di vita, il periodo storico che l’Italia stava attraversando e la resistenza partigiana. Il grande amore tra il regista e l’arte figurativa si rafforzerà durante i suoi viaggi a Parigi, grazie alla conoscenza di personalità di spicco dell’epoca, tra cui Jean Renoir, Dalì e Picasso. Ed è proprio questo attaccamento alla pittura che si va percependo in gran parte dell’opera cinematografica di Visconti, che tramite la sua sapiente abilità riuscirà a costruire sequenze in grado di raccontare una storia senza che nemmeno il bisogno di utilizzare la parola. L’arte pittorica non verrà utilizzata dalla cinematografica di Luchino unicamente nelle citazioni dirette ai quadri più o meno popolari della storia dell’arte, che verranno attualizzati e reinterpretati in chiave moderna. Lo stile caratterizzante la fotografia del regista, infatti, si appella in maniera evidente alla pittura, i cui giochi di luci ed ombre, tonalità e colori della rappresentazione si faranno portatori di un messaggio che va oltre la mera bellezza estetica della sequenza. La "pittoricità" dei suoi film diverrà uno dei maggiori elementi di riconoscimento dell’arte di Visconti. In un mondo oggi sovrastato dall’utilizzo dei media, il celeberrimo regista fu uno dei primi a capire la potenza comunicativa dell’unione di più linguaggi in uno, facendo del cinema uno strumento in grado di unire passato, presente e futuro.
Individuo e società, cultura personale e ricerca: il linguaggio cinematografico di Luchino Visconti tra storia, politica, arti figurative e libertà dell'artista / Margherita Crespi , 2024 Feb 23. 36. ciclo, Anno Accademico 2022/2023.
Individuo e società, cultura personale e ricerca: il linguaggio cinematografico di Luchino Visconti tra storia, politica, arti figurative e libertà dell'artista
CRESPI, MARGHERITA
2024-02-23
Abstract
If we were to draw up a list of directors who have contributed to making cinema another art form, without a shadow of a doubt a prominent place would be occupied by Luchino Visconti, whose way of bringing reality to the screen will be counted as one of the masters of the art of filmmaking in the twentieth century. From birth, the young Luchino Visconti absorbed the culture of the privileged environment that surrounded him, thanks in part to a strict family upbringing that led him to become passionate about music, literature, theater and painting. In a historical period that had seen Fascism take control of any means of communication in order to turn it into an instrument of propaganda, Luchino's work unhinged any nationalistic imprint from the very beginning in order to represent truth on the screen. From this intent was born the neorealist cinema, of which Visconti was one of the fathers, whose first interest was to tell a story, but also an ideal, a vision of the world. The latter will be brought back through the use of sets, colors, gestures, images and expressions that communicate more than dialogue. We could say that neorealist cinema comes very close to what was "genre painting," a type of pictorial representation born in the 16th century that had as its main subject those who had always been considered "the invisible" of society, the humble. For the first time, in fact, the protagonists were subjects belonging to the lowest social class; peasants, workers, families filmed in moments of daily life such as village festivals, or engaged in their usual trades. Likewise, the stories proposed by neorealist cinema would concern the poorer classes, their living conditions, the historical period that Italy was going through and the partisan resistance. The great love between the director and figurative art would strengthen during his travels to Paris, thanks to his acquaintance with leading figures of the time, including Jean Renoir, Dali and Picasso. And it is precisely this attachment to painting that is to be perceived in much of Visconti's film work, who through his skillful ability will succeed in constructing sequences capable of telling a story without even the need to use words. Pictorial art will not be used by Luchino's cinematography solely in direct quotations to more or less popular paintings from art history, which will be actualized and reinterpreted in a modern key. In fact, the style characterizing the director's photography clearly appeals to painting, whose play of light and shadow, tones and colors of representation will become the bearers of a message that goes beyond the mere aesthetic beauty of the sequence. The "painterliness" of his films will become one of the major elements of recognition of Visconti's art. In a world today overwhelmed by the use of media, the celebrated director was one of the first to understand the communicative power of combining several languages into one, making cinema an instrument capable of uniting past, present and future.File | Dimensione | Formato | |
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Descrizione: Individuo e società, cultura personale e ricerca: il linguaggio cinematografico di Luchino Visconti tra storia, politica, arti figurative e libertà dell'artista
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