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Item Metadata Title Der Tod in Venedig: novella into film Creator Publisher University of British Columbia Date Issued 1973 Description The problem under investigation in this paper is that of the cinematic adaptation of Thomas Mann's novella Der Tod in Venedig. There are three main chapters. Chapter one provides background on the film's director, Luchino Visconti.
It establishes the corpus of thought and film production into which the literary text is first assimilated. Chapter two details the major result of the director's attempt both to be faithful to his source material and to express something of himself — the changing of the novella's hero, Gustav von Aschenbach, from a writer into a composer loosely modelled on Gustav Mahler, and the concommitant use of music by Mahler. This pivotal change is discussed by an analysis of the director's own reasons for such a change and the pattern of ambiguity and irony created by the film's musical score. The third chapter deals with what has been gained and what lost in the process of adaptation; the gains derived from the visualisation of Venice and certain of the novella's characters, the loss of the philosophic dimension and the sense of tragedy. Individual additions and deletions are discussed with the stress being on the inclusion of the ten flashback sequences. The concluding remarks establish the individuality of Morte a Venezia, distinguishing between Mann's 'tragic' novella and Visconti's cinematic melodrama. Genre Type Language eng Date Available 2011-03-31 Provider Vancouver: University of British Columbia Library Rights For non-commercial purposes only, such as research, private study and education.
Additional conditions apply, see Terms of Use. DOI 10.14288/1.0101343 URI Degree Program Affiliation Degree Grantor University of British Columbia Campus Scholarly Level Graduate AggregatedSourceRepository DSpace Download Media 3.69MB Metadata JSON: JSON-LD: RDF/XML (Pretty): RDF/JSON: Turtle: N-Triples: Original Record: Full Text Citation Full Text.
DER TOD IN VENEDIG:3 NOVELLA INTO FILM, by DONALD GEORGE MEAKINS B.A., University of British Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Programme. ^ in Comparative Literature We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make i t freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission.
Department The University of British Columbia Vancouver 8, Canada ABSTRACT The problem under investigation in this paper is that of the cinematic adaptation of Thomas Mann's novella Der Tod in Venedig. There are three main chapters. Chapter one provides background on the film's director, Luchino Visconti.
It establishes the corpus of thought and film production into which the literary text is first assimilated. Chapter two details the major result of the director's attempt both to be faithful to his source material and to express some-thing of himself — the changing of the novella's hero, Gustav von Aschenbach, from a writer into a composer loosely modelled on Gustav Mahler, and the concommitant use of music by Mahler. This pivotal change is discussed by an analysis of the director's own reasons for such a change and the pattern of ambiguity and irony created by the film's musical score.
The third chapter deals with what has been gained and what lost in the process of adaptation the gains derived from the visualisation of Venice and certain of the novella's characters, the loss of the philosophic dimension and the sense of tragedy. Individual additions and deletions are discussed with the stress being on the inclusion of the ten flashback sequences. The concluding remarks establish the indivi-duality of Morte a Venezia, distinguishing between Mann's 'tragic' novella and Visconti's cinematic melodrama. i i -TABLE OF CONTENTS i ) Introduction p. 1 i i ) Visconti's filmography.
6 i i i ) The addition of Mahler's music - reasons for Visconti's choice p. 13 - p o s s i b i l i t i e s of parody.
2 0 iv) Changes - the flashbacks p. 38 - the characterization of Aschenbach. 48 - further additions and deletions p. 56 v) Concluding Remarks. 70 vi) Bibliography. 77 'To draw is to subtract' Max Liebermann Liebermann's dictum is quoted in Realism in our Time by Georg Lukacs, who goes on to amplify i t into an admittedly overly abstract definition: 'art is the selection of the essential and subtraction of the inessential' (p.
Liebermann's aphorism loses none of its force i f the artist in question paints his pictures with light and shadow, imprinting his images on celluloid through complicated physical and chemical processes. The role of choice, of discretion, remains paramount. But before being faced with the problem of in-ternal composition and mounting, our artist must first choose a subject in keeping with his medium of expression. Luchino Visconti chose to adapt Thomas Mann's Der Tod in Venedig to the screen. This i n i t i a l choice will entail many additions and deletions vis a vis the basic text; that the novella will be distorted is inevitable, even desirable — to a point unfaithfulness is a requisite for faithfulness.^ For film adaptation is largely a matter of analogy. In adapting novel or novella to the screen, the adaptor is advised to consider the narrative prose as raw material: 'He looks not to the organic novel, whose language is inseparable from its theme, but to characters and incidents which have somehow detached themselves 2 from language.
Have achieved a mythic l i f e of their own.' Close attention must be given to the process of concretizing this raw material, for films act upon us perceptually — 'between the percept of the visual image and the concept of the mental image lies - 2 -. 3 the root difference between the two media'.— and are therefore hard put to capture concepts or verbal abstractions.
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The pressure of the physical and of objects and details is inescapable: 'Emphasized or not, invited or not, the physical world through the intensifications 4 of photography never stops insisting on its presence and relevance.' When transferred to the screen, literariness acquires a different weight or specificity and varying degrees of obviousness that may do harm to the writer's original idea. It is this germinative idea that must be sought out and considered in terms of its cinematic adaptability and effectiveness. Seeking to 'ripercorrere i l cammino iniziale (e non i l risultato terminale) dell'ispirazione artistica'^ of Mann, leads Visconti to seek the analagous situation or detail and not simply to transfer the principal elements of Mann's story directly to the screen.
In a film that is already rather long this distillation of the story, this effort to make tabula rasa, capture the essential in Mann's story, and with i t firmly in mind to create one's own work of art, is veri-tably the only path open to Visconti. The measure of Visconti's success will in part be revealed in his 'selection of the essential' and in the additions to and subtractions from the text which he deems necessary for the expression of this essence. This process of addition and subtraction wi l l inevitably yield both gain and loss vis a vis the original text. Der Tod in Venedig is a profoundly intellectual and ambiguous novella written in an - 3 -elegant, eminently literary style which does not facilitate screen adaptation. The visualisation of Aschenbach and Venice, and the added dimension of the film's musical score can be very effectively handled, but wil l be hampered in their efforts to adequately express the novella's psychological insights and the underlying philoso-phical content which comes to the fore in the final Socratic dis-course. That which is much more readily filmable in Der Tod in Venedig and which constitutes the essence Visconti extracts from the tragedy of Gustav von Aschenbach, is the melodrama which is in every tragedy. Visconti feels at home in the manners of melodrama.-its purposeful exaggeration and freedom of feeling — and in 'the morals of melodrama - the projection upon the world of our irres-ponsible narcissistic fantasies.'
7 Thus his attempt t o achieve. G 'an emotional response to the total impact of the narrative,' to express the effect and feel of the text.
An effort to understand Visconti's positive approach to melodrama is a precondition for any appraisal of Morte a Venezia. Thus in addition to measuring Visconti's success in terms of Der Tod in Venedig, allowance must be made for the interpolation of his own ideas and personality. Visconti's personal background and cinematic experience sub-stantiate his ability to perform the very ambitious task of giving Mann's novella film form.
In doing so Visconti produces a tightly structured film of great beauty, both aurally, by means of Mahler's Adagietto, and visually, by means of an unobtrusive camera and - 4 -sensitive attention to the details and surfaces which provide such expedient substance for film. The result is the effective expression of the novella's mood of refined sensuality and decadence. Indeed,-of the novella's qualities, Visconti can hope to capture l i t t l e more than this mood.
The novella's primary concerns — the philoso-phic dimension, the ambiguous concurrent rise and f a l l of Aschenbach, the literary parody — are concerns not easily expressed in film; the intellectuality and ambiguity reintroduced by Visconti do not make up for that which is lost as an inevitable result of transliteration. The film adaptation of Der Tod in Venedig is a recreation of Thomas Mann's novella in an artistic medium which is hard put to give i t adequate expression. 5 -REFERENCES 1. Morte a Venezla. Novels into Film, p. Film and Literature, p.
Bentley, Eric. The Life of the Drama, p.
Solomon, Stanley J. The Film Idea, p. 233 - 6 -Visconti (b.
1906) produced his f i r s t film, Ossessione, in 1942. Prior to this time his main a r t i s t i c stimulus had been pro-vided by Jean Renoir, for whom he had designed costumes in Paris in 19 36, and with whom he worked in 19 39 on the adaptation of the Sardou/Puccini La Tosca, later becoming assistant director of the film. Like Morte a Venezia, Visconti's f i r s t film also makes use of a literary source — James Cain's The Postman Always Rings Twice — freely adapted to the needs of Visconti and a war-tom, fascist Italy.
Among Russia's greatest writers, Anton Chekhov revolutionized Russian drama and short-story writing. Presented in the order of their publication. If you're new to Chekhov, it's recommended by the web site that you begin (and I'm quoting verbatim) 'with a few humorous stories, such as,. Next try one of Chekhov's most moving stories,.
Among the longer stories, I suggest beginning with, and, which contains the most famous thunderstorm in literature. Finally, be sure to read the famous trilogy made of, and.'
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