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  1. Luchino Visconti

    Luchino Visconti

    Italian theatre, opera and cinema director

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  1. Mar 13, 2024 · Luchino Visconti (born Nov. 2, 1906, Milan—died March 17, 1976, Rome) was an Italian motion-picture director whose realistic treatment of individuals caught in the conflicts of modern society contributed significantly to the post-World War II revolution in Italian filmmaking and earned him the title of father of Neorealism.

  2. May 23, 2018 · Visconti, Luchino (1906–76) Italian film director, b. Count Don Luchino Visconti di Modrone. His debut film, Ossessione (1942), was a pioneering work of Italian neo-realism. Other films include Senso (1953), Rocco and His Brothers (1960), The Leopard (1963), Death in Venice (1971), and Conversation Piece (1975).

  3. Luchino Visconti. Writer: The Leopard. Born in his ancestral palazzo, situated in the same Milanese square as both the opera house La Scala and the Milan Cathedral, Luchino Visconti (1906 - 1976) was raised under the auspices of aristocratic privilege, theater and Catholicism.

  4. Jun 27, 2018 · Visconti, Luchino. Jeremy Carr. June 2018. Great Directors. Issue 87. b. 2 November, 1906, Milan, Lombardy, Italy. d. 17 March, 1976, Rome, Lazio, Italy. Count don Luchino Visconti di Modrone was born to a life of respectability, authority, and affluence. This noble upbringing, and what it could afford, had an undeniable, everlasting impact on ...

  5. Mar 18, 1976 · Luchino Visconti, the internationally known director of sumptuously detailed film melodramas, died yesterday in his Roman villa. He was 69 years old. Mr. Visconti, whose last film,...

  6. Luchino Visconti (b. 1906–d. 1976) was one of Italy’s foremost directors of cinema, theater, and opera. A cultural figurehead of the Italian Communist Party (PCI), Visconti was seen as a major cinematic interpreter of the Italian Hegelian-Marxist philosopher Antonio Gramsci.

  7. Jul 15, 2018 · While neorealism has come to be packaged with its own mythology—a new cinema for a liberated nation, the idea of a new “Italian” style—re-centering our historical gaze on the Gothic Visconti allows one’s imagination to spread across a much larger plane of geography and time.

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