Luchino Visconti's Image Art

60' s is the beginning of a new stage of Visconti's creation. Although his works are surprisingly complete as a whole, people can really see that his theme has changed greatly since he filmed The Leopard. If The Locke Brothers, which was shot by Vicondi in 1960, describing the migration of southern Italians to the north, is still a modern theme, then his theme has returned to the era of Italian "revival" independence movement since the filming of The Leopard. Although Visconti dealt with this historical theme in his masterpiece Lust, it can be clearly seen from his earliest films Sinking (1943) and The Earth is Ups and Downs (1948) that the director fundamentally regards realism as an opera stage scene to express his enthusiasm and historical strength.

At this time, Visconti's films no longer show the "lower class" (such as Falling, The Rise and Fall of the Earth, Little Beauty, Rocco and His Brothers), but reflect the lives of nobles and gentlemen. Similarly, the background of historical and social conflicts has also changed. Although it can be seen for a long time that Visconti's infatuation with the theme of "collapse" has been revealed, there are still motivations, characters and social forces to contend with the "depravity" in these films, which critics once called "opening to the future" in the early films of Visconti. The film Leopard, a huge picture reflecting the declining aristocratic world in Sicily, is full of despair. Fabbrizio, the Marquis of Salina in the film, is obviously a self-portrait of Visconti. Marquez knew that the era of feudal society was over, and he was faced with the emerging bourgeoisie and people's livelihood institutions represented by energetic, ambitious and slightly vulgar mayor Dong. Representatives of these institutions even begged him to accept a seat in parliament. On the one hand, Fabbrizio catered to the Forces nouvelles for tactical reasons. He even agreed to marry his nephew to the mayor's daughter, but on the other hand, he refused the request of the Turin messenger. He said; "I belong to the class that is about to step down ... I have no illusions and will not deceive myself. It is too late. After 2500 years of colonial rule, Sicily needs rest, death and stability. We used to be noble eagles and leopards, and we will be replaced by vultures and lambs. " In the film The Leopard, Weikang tape depicts the magnificent scenery of Sicily, the architectural art and interior decoration of the palace, so as to arrange the plot and artistically reproduce the pessimistic situation of the Marquis. Through the encounters and arguments of various characters, he shows an all-encompassing and contradictory picture of the Renaissance.

The constellation Ursa Major (1965 is the title of a poem by Leigh Aupart Di) is also a movie about family collapse. This is the first time that Visconti tells a story about Judaism, fascism and Nazi's past, and tells a story about a brother and sister who were born in a superior Jewish family. They suspect that their mother and her lover betrayed their father to the Nazis, resulting in their own death in Auschwitz concentration camp. From a literary point of view, this mysterious story with a creepy appearance is also mixed with scenes of suicide and incest. Visconti uses various metaphors to show the decline of the nobility, but because he uses them too much, except in movies: they have nothing to do with reality.

Stranger (1967) is the only film that he expressed his dissatisfaction afterwards. He intended to highlight the political significance of Camus' original work, but his plan was frustrated by Camus' legacy. Visconti had to make a movie with nothing but a graphic novel, and the content expressed by Camus' literary style in the novel was not reflected in the movie at all.

Cursed Man, Soul to Venice and Ludwig are the "German Trilogy" in his later works. Visconti is familiar with German philosophy, novels and music. He repeatedly emphasized his close relationship with German culture. In The Cursed Man, he also sketched an exaggerated picture full of bloody plots, hopeless depravity and irresistible personal decline. Although the film is limited by history (the film begins with a family celebration ceremony on March 27th, 1933), it still involves some historical events. The film takes the Krupp family as a "model". Although the film failed to analyze the historical roots of Nazism he showed. But his strange pictures contain some metaphors. At least through terrible exaggeration, this film successfully shows one aspect of fascism, that is, the fanaticism of death and blood, which is combined with nationalism and masculinity that are trying to beautify the new form of' the decline of God'.

Venice of the Lost Soul is based on thomas mann's novel of the same name. Visconti had long wanted to make this film, but it was not until 1970 that he "felt the time was ripe". He made some changes to thomas mann's original works, mainly to turn the writer Aschenbach into a composer with gustav mahler characteristics. Mahler's music appears in many places in the film. Visconti wanted to use Mahler's music in The Cursed Man, but he gave it up because of the opposition of the producer. Wescone tapes compress the satirical elements of the original novel and the discussion of artistic theory. On the other hand, due to his superb directing skills and his depiction of ancient Venice full of realistic beauty and signs of death, the hero of the film and his road to the other side of happiness (which seems to be indicated in the last shot of the film) are endowed with an almost mysterious color. In any other film, Wei Kangle Team failed to reproduce a beautiful world that is about to die so superb, although his world has a tendency to be divorced from reality and an illusion floating above reality. In "Soul Breaking Venice", the beloved theme of "collapse" appeared again. In the character Aschenbach, he also inserted a theme, that is, artists living in this collapsed world want to express the world.

Vicon designed an image for Ludwig's Bavarian national workers, which is similar to Sembach in The Lost Soul Venice. They also devoted their lives to art and beauty. Aschenbach personally pursues and achieves absolute beauty in meditation, while Ludwig wants to build a complete art kingdom around himself. He believes that only through the friendship with Wagner and the construction of precious art buildings can the goal be achieved. But he didn't do it. Visconti pays attention to the hero's emotional life, his alienation from the world around him and his isolated life in a gorgeous environment. At the end of the film, Visconti asked Ludwig to say, "I want to keep a secret for others and myself." Visconti spent a lot of money on the scenery and artistic means of the film, but the effect was the opposite of Venice. The film was shortened by 45 minutes when it was released in Germany, so the overall effect was destroyed.

Family Portrait (1974) can be understood as the title of the film of artistic proverbs by Visconti, which shows the eternal content of his works. The internal life of a family is his basic theme. This can be traced back to the family portrait hanging on the wall of Valaste's Luo family in The Ground Shakes. After the stroke of Visconti, this film, which was shot under very difficult circumstances, returned to the modern theme for the first time. In a luxurious house in Rome lived an old professor who collected oil paintings. He doesn't like to see a noble living upstairs with his attendants, daughters, lovers and girlfriends. This group of degenerate people plunged the professor into chaos and hysterical conflict. The film also touches politics: a group of fascists are secretly planning a murder. Visconti emphasized the contrast between the aristocratic lifestyle of professors and the vitality of young people. The youthful spirit of the young man surprised him, frightened him and finally made him feel good. These young people forced him to rediscover his life. He realized that he was banned from smoking in the surrounding art world, which was actually a life before his death. Some worthless things in the film sometimes make people doubt the reliability of the film. However, "The Earth is Fluctuating" also confirms the director's freedom for "World" magazine, and this confession is also a summary of his whole later creation: "I belong to the era of Thomas Mann, Proust and Mahler. I was born in 1906. The world around my art, literature and music is that world. Not surprisingly, I think the world is kind. Maybe I still have visual and vivid memories. This is a subconscious way of remembering. It helps me describe the atmosphere of that era. Everything has changed today. When I want to make a modern movie today, I don't know where to find the scene I need. I find everything boring and disappointing. The European society before World War I created the greatest contrast and aesthetic achievements. In contrast, the contemporary world is so bland, Lack of aesthetic feeling ................................................................................................................................................... .............'s early and later works are permeated with the integration of this aesthetic means and political and ideological factors, although the film itself is not directly related to contemporary life.

Visconti's last unfinished film was staged after his death. Innocence is based on Gabriele Dannunzio's novel. This film is not one of the best works of Visconti. This story tells the story of a pleasure-seeking earl who cheated on his wife. But when he later learned that his wife also had a lover and had a child with him, he flew into a rage, mainly because the father of the child was a non-noble writer. He let the child freeze to death in the cold wind and then committed suicide passionately. With expensive scenery and keen sense of scenery, Visconti once again depicts the absurd moral system of the decadent aristocratic world. The world went into decline because of his amazing pervert and blind prejudice.