Also, forces political and cultural will be examined in relation to the impact they had on Visconti and his artistic development and how these all shaped the making of Ossessione and its initial reception. The inevitable starting point of this line of enquiry is the intuition that there is a tension between realism and melodrama. The John Hopkins University Press, Lo Spagnolo and Gino walk toward the marsh. Visconti seems unwilling or unable to decide and, given his ambivalent feelings about homosexuality, this should not be overly surprising. Other articles you might like: Gino stays in Ancona and gets a job holding up an advertisement sign for Spagnolo.

In other words, melodrama activates psychic energies and emotions that are then repressed by the narrative. For the purposes of this study, it seems sufficient to say that in Ossessione the camera clearly espouses a male perspective. From then on, he was able to begin forging his own identity, and to pursue more resolutely his own desires, wishes, and needs. As soon as Gino and Anita leave her dark room, Giovanna spots them and proceeds to make a terrible scene, even threatening to denounce Gino to the police if he does not return with her. A smouldering sensuality pervades this kitchen sequence. She ultimately refuses Gino, opting for the security and stability that Bragana has to offer, and he sets out once again unencumbered. Type the code shown:

The fact that the two protagonists are away not only from the trattoria but from any of the environment we have seen so far, strengthened the impression that a new phase is really under way. Perez 17 In the end, Kracauer rediscovers the inescapable tension between reality and representation: In sum, this child is an ambiguous sign, does it represent a catalyst in the reunion of Gino and Giovanna or the ultimate breakdown of their life?

Tying Loose Ends A discussion of Ossessione would not be complete without devoting some time to the elaboration of a few themes. The active role she has been playing throughout the film is discarded in favour of a traditional passive one.

In his comprehensive study of Visconti, Henry Bacon has noted that: In addition to Horst, the second person of the trio who was instrumental in setting Visconti on a course which he followed for the rest of his life synosis none other synppsis the iconic Coco Chanel.

From the first time that they sleep together, after which Giovanna shares with Gino all of her deepest problems while he listens to the sound of waves in a seashell, it is clear that he answers only to the open road, identifying it as his alternative to becoming an active part of mainstream society. Unsourced material may be challenged and removed. But in fact, Bragana will befriend Gino even before Giovanna decides he may be of use, and in this way makes it possible for Gino to commit a crime that goes well beyond what Bragana had boisterously and ineffectually anticipated.


A prostitute leads him into vice, while another young woman, ideally lovely, represents the purity that he cannot attain. The two lovers, about to reach the point of no return. This is not to say that they necessarily shared mutually compatible conceptions of what realism in cinema entails, but for both of them the capturing of reality by means of the cinema was the key ambition of the seventh art. Giovanna tells her story: Shortly thereafter, the Fascists confiscated the original negative and brought it to their film studio in Venice, where they edited the minute film into a forty minute version.

Although he had no formal education in this field and not that much experience either, he was able to make decisions about composition, camera locations, and length of shot without the slightest hesitation. Schifano, Laurence, Synopsid Visconti: This sequence’s protagonists are Gino and Giovanna, who both want to move on after Bragana’s death.

Ossessione – Wikipedia

The images on the screen are neither a reproduction of reality nor an illusion of it: Another theme that merits more development is the dichotomy between interiors and exteriors. After the war, Ossessione encountered more problems with mass distribution, this time in the United States. In a sense, Anita is the way Gino would have liked Giovanna to be: The police comes and arrests Gino. In post-war Northern Italy, a hungry vagabond walks into a tavern, asking for food from the boss’s wife.

Both Giovanna and Gino are tragic characters in their inability to find a space in which to situate themselves comfortably. The synopsid post-coital scene opens with a detail of ossesione basin full of water and a hand dipping a comb into it. Gino waits in the girl’s room. While the plog lingering on Gino can be justified in terms of the lines of dialogue he has to deliver, the driving force of the scene is sexual attraction and the camera movement emphasises the extent to which Giovanna is immediately attracted by the handsome vagrant.

When Bragana turns to go after the drifter, the camera tracks-in on Giovanna with a medium shot that captures her with an expression ossessionf leaves no doubt about the fact that she has a plan. After the paperwork is over, Giovanna, absentmindedly, extends her hand to the police inspector, for a shake, as if she has just closed an important deal. The question then is: Against the backdrop of the drunken and foolish Bregana, ossessioje couple plans his death, an act they carry out in a car crash.


He angrily yells at Giovanna that he doesn’t want to be with her anymore, osseasione goes off to find Anita.

Ossessione (Italy 1942): A dance of “death and sperm”

We, too, are tempted to think that life with him is not that bad, after all. Don Giuseppe was meticulous in preserving the solemn, immutable ritual that his son would later recreate in La caduta degli dei. Rather than granting them the freedom they so desperately seek, however, the murder only heightens the need for deception and makes more acute the guilt they had previously been dealing with. Bragana takes his rifle and goes to shoot some ossessoone mating outside.

InVisconti was attempting to finance the adaptation of two works for the screen, Mayerling the notorious hunting lodge where the Archduke Rudolf of Habsburg, Crown Prince of Austria-Hungary and his mistress the Baroness Marie Vetsera were found dead and November which was based on a story by Flaubert. According to Horst, Visconti was fiddling with his radio dial when he chanced upon an announcement, transmitted in Italian, of an Italian victory in Abyssinia. Le Sens et l’imageParis, Western Mystery All Genres.

Click here to sign up. The date of its synosis is significant, April 21,for it is supposedly the mythical anniversary of the founding of Rome and there on that day to perform the opening ceremonies was none other than Mussolini himself Bondanella In his study on the first hundred years of Italian cinema, Pierre Sorlin also expresses the difficulty in elaborating a precise definition of melodrama: Overall, the sequence, which lasts approximately ten minutes, is divided into thirteen takes of moderate length, allowing the characters to move and interact in their environment and with each other at a relatively leisurely pace, so that the viewer has the time to observe their circumstances and behaviour with great detail and exactitude.

It was also music which held the deepest and fondest memories and associations connected to his beloved mother.

After a few days, Pssessione tries to convince Giovanna to run away with him. When they reach the city of Ancona, Gino spends a night at an inn with Spagnolo, where he reveals that he cannot stop thinking about Giovanna. Our discussion will focus on the concepts they developed.