Visconti's Senso
The Art of History
Bibliographic Data
| ID | 9815056 |
|---|---|
| Authors | Giovanna Faleschini Lerner (0000-0001-5894-1485, Franklin & Marshall College, corresponding author) |
| Year | 2007 |
| Volume | 41 |
| Issue | 2 |
| Pages | 342-358 |
| Publication date | 2007-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Forum Italicum A Journal of Italian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0014-5858 • E-ISSN: 2168-989X |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/001458580704100203 |
| OpenAlex | W1983674478 |
| Language | EN |
| References cited | 5 |
This article examines Visconti's subversive use of Francesco Hayez's 1859 iconic painting, Il bacio, in Senso as an essential element of the director's critique of Risorgimento history. In particular, the article proposes that through the recontextualization of Hayez's most recognizable work, which played a fundamental role in shaping the Italian patriotic imagination in the nineteenth century, Visconti problematizes cultural and artistic representations of Risorgimento history, as well as historiographical accounts of the unification process. By juxtaposing artistic accounts of a heroic Risorgimento and his characters' story of passion and betrayal, Visconti denounces traditional representations of the independence movement as historically false and politically biased, and uncovers the discrepancies between individual actions and motivations and uncomplicated representations of the Risorgimento. Gramscian perspective on the Risorgimento. By using art as an instrument of ideological critique he also traces a new direction for Italian intellectuals and artists, by attempting to bridge the gap between aesthetics and ideology and reclaiming for “Poetry” an active role in history
Aesthetics · Art · Art history · Betrayal · Historiography · Ideology · Independence (probability theory · Literature · Passion · Politics · History · Italian Fascism and Post-war Society · Law · Philosophy · Philosophy, History, and Historiography · Visual Culture and Art Theory
| Highly cited | No |
|---|