Lucchino Visconti - Lucchino Visconti: Death in Venice...

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Lucchino Visconti: Death in Venice Viewing Questions 1. The overall pacing of Visconti’s Death in Venice matches, in its slow movement, that of Mann’s novella. However, the screenplay is surprisingly free of dialogue. Why? What impression(s) do you, as a viewer, take away from this combination of leisurely pace and relative ‘silence’? 2. Visconti makes Aschenbach a composer rather than a writer. Why this change? 3. Visconti dispenses with the ominous traveler who confronts Aschenbach in the first part of Mann’s novella. He keeps the painted older man, but the appearance is only cameo. In short, he seems to dispense with the time Aschenbach spends in Germany, in preparation for travel. What do you make of these adjustments? 4. Aschenbach’s meditation on the hourglass, which takes place in one of the film’s numerous flashbacks, is forefronted to early in the film, rather than its place somewhat later in the novel. Why? 5.
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This note was uploaded on 09/01/2008 for the course HUM 304 taught by Professor Williams during the Fall '08 term at University of Louisville.

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