Luchino Visconti

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Related to Luchino Visconti: Pier Paolo Pasolini
Luchino Visconti
Luchino Visconti di Modrone
BirthplaceMilan, Lombardy, Italy

Visconti, Luchino

(lo͞okē`nō vēskôn`tē), 1906–76, Italian film director and writer, b. Milan as Luchino Visconti de Modrone. One of Italy's most acclaimed directors, Visconti has been called the father of neorealism for his early films Ossessione (1942) and La terra trema (1948). His increasingly lavish productions created a heightened sense of melodrama. His late films explore the nature of decadence. Among his other films are Rocco and His Brothers (1960), The Leopard (1964), The Damned (1969), Death in Venice (1971), Ludwig (1973), and The Innocent (1979).
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Visconti, Luchino


Born Nov. 2, 1906, in Milan. Italian theater and film director. Screenwriter. Born into an aristocratic family.

Visconti began to work in films in 1936. Rejoined a group of antifascist young film critics and wrote for film periodicals of an antifascist tendency (Bianco i nero and others). Visconti’s first work as a director was the film Ossessione (1942), based on motifs from the novel The Postman Always Rings Twice by the American writer J. Cain. During World War II, Visconti took part in the resistance movement.

Visconti was one of the founders of neorealism. His most significant films are La Terra trema (1948), Bellissima (1951), Senso (1954), Rocco and His Brothers (1960), The Leopard (1962, based on the novel by G. T. di Lampedusa), and The Damned (1970).

Since 1945, Visconti has also worked as a theater director. He has staged productions of A. Miller’s Death of a Salesman (1950) and View from the Bridge (1958) and Chekhov’s Three Sisters (1952) and Uncle Vanya (1956), in addition to Verdi’s operas La Traviata and Il Trovatore. Several of Visconti’s motion pictures have received prizes at international film festivals. Visconti’s creative work is marked by a progressive tendency, a sociohistorical approach to his material, a profound inner link with the traditions of Italian and world literature, and the importance of the subject matter.


“Zemlia drozhit.” In the collection Stsenarii ital’ianskogo kino. Moscow, 1958.
Rokko i ego brat’ia. Moscow, 1962. (Translated from Italian.)


Shitova, V. Lukino Viskonti. Moscow, 1965.
Nowell-Smith, G. Luchino Visconti. London, 1967.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Questa raccolta di tredici saggi a cura di Francesco Bono, Luigi Cimmino e Giorgio Pangaro si propone di confrontare Der Tod in Venedig (1912), romanzo breve di Thomas Mann, e Morte a Venezia (1971), film diretto da Luchino Visconti. Il volume rientra in una collana dell'editore Rubbettino dedicata all'analisi comparata tra opere letterarie e rispettivi adattamenti cinematografici, e raccoglie gli interventi di autori provenienti da diversi ambiti disciplinari negli studi umanistici--cinema, filosofia, germanistica, letterature comparate, letterature anglo-americane, musicologia, teatro--e da diverse universita europee.
Luckily, director Luchino Visconti managed to save a print.
Screening of the film SENSO, by Luchino Visconti - April 1, at 6.30pm at the Dom na Kinoto (Cinema House)
Among Granger's other credits were the film noir favourite They Live By Night, Luchino Visconti's Senso, The American soap operas As The World Turns and One Life To Live.
Ainsi, la notice sur le cinema me semble beaucoup trop breve (seulement deux pages) et neglige d'importants createurs etiquetes comme ayant ete communistes, comme Pier Paolo Pasolini, Luchino Visconti, le cineaste cubain Santiago Alvarez (1919--1998), ou a la rigueur Jean-Luc Godard (qui avait realise un film maoiste, La Chinoise, en 1968).
Step forward Piero Paolo Pasolini, Luchino Visconti and Roberto Rossellini.
In this chapter, Testa concentrates on the distinctive films of Luchino Visconti, Alberto Lattuada, Roberto Rossellini, Ermanno Olmi, and Vittorio De Sica whose films were based on celebrated European literary text from Russian, French and German literary masters.
Em 1965, Luchino Visconti filmou Vaghe Stelle dell'Orsa, com o qual ganhou, naquele mesmo ano, o seu primeiro Leao de Ouro do Festival de Cinema de Veneza.