Luchino Visconti and the Alchemy of Adaptation

Contents
List of Illustrations
Acknowledgments
Preface
Introduction: Literary Sources, Cinematic Frameworks
	Authors, Auteurs, Adaptation
	Cryptographs and Code-Breakers: Tradition and Invention
Part I Neorealist Interiors in Word and Image
	1 La terra trema (The Earth Trembles, 1948): Inhabiting The House by the Medlar Tree, from Verga to Visconti
		Visconti and Political Neorealism before Gramsci: “The Creative Treatment of Actuality”
		The Home in The House by the Medlar Tree and the Aesthetics of Fragmentation
	2 Ossessione (Obsession, 1942): In from the Outside: Literary Interiors in Neorealist Exteriors
		The Invention of Landscape(s), from Italy to France
		Public, Private, and Places in Between
	3 Senso (1954) and Le notti bianche (White Nights, 1957): Voice and Body: Books through Stars of the Screen
		Senso: Boito and Valli, Betrayal and History
		Narrating White Nights, from Him to Her
		Visconti’s First Super Spectacle
Part II The Super-Spectacle Adaptations
	4 Rocco e i suoi fratelli (Rocco and His Brothers, 1960): Passion and Pugilism in Visconti’s Boxing Film
		From Adaptation to a Grammar of the Boxing Film
		Rocco and His Brothers: Arthouse or Italian Blockbuster?
	5 Il Gattopardo (The Leopard, 1963) and Il lavoro (The Job, 1964): Wedding Bestseller with Blockbuster
		Marriage, Present and Past: Matrimony and Transaction in The Job
		Readers at the Theater: History, Heritage, and Historical Films
	6 La caduta degli dei (Götterdämmerung) (The Damned, 1969): A Queer Macbeth in Nazi Uniform
		Macbeth, Titan of Industry: Visconti and a Modern Shakespeare
		Mother to Son: The Damned’s Queer Inheritance
		Night of the Long Knives
Part III The Late Works, Page to Screen
	7 Vaghe stelle dell’Orsa (Sandra, 1965) and L’Innocente (The Intruder, 1976): D’Annunzio, Decadence, and Tragic Masculinity
		The Intruder: Decadence Remastered
		Volterra: From D’Annunzio to the Gothic Giallo
	8 Lo straniero (The Stranger, 1967): Crime and Punishment in a “Failed” Adaptation
		The Reception of The Stranger, the Film that Illustrated the Novel
		At the Courthouse: Visconti, Existentialism, and the Transmuted Legal Drama
		Genuflecting at the Altar of Literature: Worshiping a Novel
	9 Morte a Venezia (Death in Venice, 1971): Ode to the Elegant Art of Adaptation
		Versions of Death in Venice
		Mahler and Mann, Visconti and His Mother
		Conclusion: Adaptations of Life and Literature
Bibliography
Filmography
Index