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3. 3. – 19. 5. 2026 o 18:00<\/p>\n3. 3. – 19. 5. 2026 o 18:00<\/p>\n
Kino Lumiere, \u0160pit\u00e1lska 2, Bratislava<\/p>\n
Filmov\u00fd kabinet je vzdel\u00e1vac\u00ed cyklus Slovensk\u00e9ho filmov\u00e9ho \u00fastavu, ktor\u00fd pravidelne pripravuj\u00fa na r\u00f4zne t\u00e9my filmov\u00ed historici Doc. Mgr. Katar\u00edna Mi\u0161\u00edkov\u00e1, PhD., Mgr. Juraj Oni\u0161\u010denko, Phd. Akut\u00e1lny semester je venovan\u00fd legende talianskeho filmu \u2013 re\u017eis\u00e9rovi a scen\u00e1ristovi Luchinovi Viscontimu pri pr\u00edle\u017eitosti 120. v\u00fdro\u010dia narodenia a 50. v\u00fdro\u010dia re\u017eis\u00e9rovho \u00famrtia. Taliansky kult\u00farny in\u0161tit\u00fat v Bratislave je spoluorganiz\u00e1torom podujatia.<\/p>\n
Luchino Visconti\u00a0bol filmov\u00fdm tvorcom paradoxov: aristokrat aj marxista, realista i est\u00e9t, analytik dej\u00edn aj b\u00e1snik ich z\u00e1niku. Jeho dielo sa stalo trvalou s\u00fa\u010das\u0165ou k\u00e1nonu eur\u00f3pskeho filmu a z\u00e1rove\u0148 citliv\u00fdm dial\u00f3gom s trad\u00edciami v\u00fdtvarn\u00e9ho umenia, literat\u00fary, hudby a divadla.<\/p>\n
Bol jednou z k\u013e\u00fa\u010dov\u00fdch post\u00e1v talianskeho neorealizmu, zakotven\u00e9ho v soci\u00e1lnej realite a pevnom vz\u0165ahu \u010dloveka k prostrediu. Nesk\u00f4r svoju pozornos\u0165 obr\u00e1til k filmovej reflexii historick\u00fdch zlomov 19. a 20. storo\u010dia, ktor\u00e9 v\u017edy sk\u00famal prizmou osudov jednotlivcov.<\/p>\n
Viscontiho filmy sp\u00e1ja fascin\u00e1cia liter\u00e1rnymi predlohami, antickou mytol\u00f3giou i opernou monumentalitou. Ako kronik\u00e1r belle \u00e9poque zachytil z\u00e1nik star\u00e9ho sveta s jeho triednymi rozdielmi, kult\u00farou a duchom doby \u2014 s noblesou, melanch\u00f3liou a presnos\u0165ou klasika.<\/p>\n
Retrospekt\u00edva pri pr\u00edle\u017eitosti 120. v\u00fdro\u010dia narodenia a\u00a050. v\u00fdro\u010dia \u00famrtia tohto talianskeho klasika je pr\u00edle\u017eitos\u0165ou pozrie\u0165 sa z\u00a0poh\u013eadu dne\u0161ka na to, ako \u010derpal in\u0161pir\u00e1ciu z\u00a0obrazov skuto\u010dnosti pre neorealizmus, ako vn\u00edmal dejiny 19. a\u00a020. storo\u010dia, ako dok\u00e1zal filmovo interpretova\u0165 literat\u00faru, aj ako vtl\u00e1\u010dal svoj\u00edm filmom opern\u00fd rytmus a\u00a0pomp\u00e9znos\u0165.<\/p>\n
Program:<\/p>\n
Visconti a neorealizmus. <\/strong>Neorealizmus \u2013 hnutie, ktor\u00e9 \u010delilo mon\u0161tru Mussolliniho propagandy obrazmi reality. Luchino Visconti sa svoj\u00edm filmom\u00a0Posadnutos\u0165\u00a0<\/em>(1942) stal jeho priekopn\u00edkom. V paradokument\u00e1rnom poh\u013eade na \u017eivot sic\u00edlskych ryb\u00e1rov\u00a0Zem sa chveje\u00a0<\/em>(1948) \u010di rodinnej dr\u00e1me\u00a0Rocco a jeho bratia\u00a0<\/em>(1960) priniesol vlastn\u00fa interpret\u00e1ciu neorealistick\u00fdch princ\u00edpov. Spojil soci\u00e1lnu realitu s archetyp\u00e1lnym jadrom pr\u00edbehu a estetizoval ju majstrovsk\u00fdm okom klasika. V pr\u00edbehu zo z\u00e1kulisia filmov\u00e9ho priemyslu\u00a0Najkraj\u0161ia\u00a0<\/em>(1951) sk\u00fama psychol\u00f3giu a d\u00f4stojnos\u0165 jednotlivca v s\u00fakol\u00ed spolo\u010densk\u00fdch mechanizmov. Visconti a dejiny. <\/strong>Aristokratick\u00fd p\u00f4vod Luchino Viscontiho v\u00fdrazne formoval jeho poh\u013ead na dejiny. Vo svojich filmoch sa opakovane vracia k momentom, ke\u010f sa star\u00fd svet rozpad\u00e1 a rod\u00ed sa nov\u00fd. Z\u00e1nik \u0161\u013eachty, il\u00fazie revol\u00facie aj mor\u00e1lny \u00fapadok spolo\u010dnosti zobrazuje s kritickou presnos\u0165ou.Vo filme\u00a0V\u00e1\u0161e\u0148\u00a0<\/em>(1954) sa osobn\u00e1 zrada prel\u00edna so zradou politickou. Monument\u00e1lny\u00a0Gepard (<\/em>1963) zachyt\u00e1va koniec aristokratickej \u00e9ry v obdob\u00ed talianskeho zjednotenia. V historickej freske\u00a0\u013dudov\u00edt Bavorsk\u00fd\u00a0<\/em>(1973) sledujeme osamel\u00e9ho panovn\u00edka uprostred rozpadaj\u00facej sa monarchie. Temn\u00fa kapitolu 20. storo\u010dia sk\u00fama v sn\u00edmkach\u00a0Hviezdy ve\u013ek\u00e9ho voza\u00a0<\/em>(1965) a\u00a0S\u00famrak bohov<\/em>\u00a0(1969), kde sa osobn\u00e9 dr\u00e1my prel\u00ednaj\u00fa s n\u00e1stupom totality.<\/p>\n Visconti a literat\u00fara.\u00a0<\/strong>Literat\u00fara bola pre Luchina Viscontiho trvalou in\u0161pir\u00e1ciou. \u010cerpal z diel J. M. Caina, G. Verga, F. M. Dostojevsk\u00e9ho, A. Camusa, G. T. di Lampedusa, T. Manna \u010di G. D\u2019Annunzia a v\u017edy presiahol r\u00e1mec be\u017enej adapt\u00e1cie. Tlmo\u010dil ducha a vn\u00fatorn\u00e9 t\u00e9my predl\u00f4h a h\u013eadal ich presah k soci\u00e1lnej realite. Preto jeho filmy ved\u00fa s literat\u00farou rovnocenn\u00fd dial\u00f3g. V\u00a0Cudzincovi<\/em>\u00a0(1967) preniesol Camusovu existenci\u00e1lnu introspekciu do vizu\u00e1lneho jazyka, v\u00a0Smrti v Ben\u00e1tkach<\/em>\u00a0(1971) zase obohatil pr\u00edbeh Mannov\u00fdmi my\u0161lienkov\u00fdm kontextom.<\/p>\n Visconti a opera<\/strong><\/p>\n Ke\u010f fa\u0161istick\u00fd re\u017eim zak\u00e1zal jeho debut\u00a0Posadnutos\u0165\u00a0<\/em>(1943), Visconti sa obr\u00e1til k divadlu a opere. Re\u017e\u00edroval v sl\u00e1vnej mil\u00e1nskej La Scala, a pr\u00e1ve opern\u00e1 sk\u00fasenos\u0165 z\u00e1sadne ovplyvnila jeho filmov\u00fd \u0161t\u00fdl.Jeho filmy maj\u00fa \u010dasto opern\u00fd rozmer: ve\u013ek\u00e9 em\u00f3cie, osudov\u00e9 konflikty, v\u00fdrazn\u00fa hudbu aj d\u00f4raz na vizu\u00e1lnu monumentalitu. Operu priamo vid\u00edme vo filmoch\u00a0V\u00e1\u0161e\u0148 (1950)\u00a0<\/em>\u00a0a\u00a0\u013dudov\u00edt Bavorsk\u00fd<\/em>\u00a0(1973) (s postavou Richard Wagnera), no jej duch prenik\u00e1 celou jeho tvorbou \u2013 azda najv\u00fdraznej\u0161ie v strhuj\u00facom\u00a0S\u00famrak bohov (1969).<\/em><\/p>\n \u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"3. 3. – 19. 5. 2026 o 18:00 Kino Lumiere, \u0160pit\u00e1lska 2, Bratislava Filmov\u00fd kabinet je vzdel\u00e1vac\u00ed cyklus Slovensk\u00e9ho filmov\u00e9ho \u00fastavu, ktor\u00fd pravidelne pripravuj\u00fa na r\u00f4zne t\u00e9my filmov\u00ed historici Doc. Mgr. Katar\u00edna Mi\u0161\u00edkov\u00e1, PhD., Mgr. Juraj Oni\u0161\u010denko, Phd. Akut\u00e1lny semester je venovan\u00fd legende talianskeho filmu \u2013 re\u017eis\u00e9rovi a scen\u00e1ristovi Luchinovi Viscontimu pri pr\u00edle\u017eitosti 120. v\u00fdro\u010dia […]","protected":false},"author":6,"featured_media":0,"parent":12319,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-19658","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/pages\/19658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/comments?post=19658"}],"version-history":[{"count":1,"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/pages\/19658\/revisions"}],"predecessor-version":[{"id":19660,"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/pages\/19658\/revisions\/19660"}],"up":[{"embeddable":true,"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/pages\/12319"}],"wp:attachment":[{"href":"https:\/\/iicbratislava.esteri.it\/sk\/wp-json\/wp\/v2\/media?parent=19658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong><\/p>\n\n
\n<\/strong>Najkraj\u0161ia | Bellissima
\nLuchino Visconti, Taliansko 1951, 114′<\/li>\n
\n<\/strong>Rocco a jeho bratia |\u00a0Rocco e i\u00a0suoi fratelli<\/a>
\nLuchino Visconti, Taliansko 1960, 170′<\/li>\n<\/ul>\n\n
\n<\/strong>Gepard | Il\u00a0Gattopardo<\/a>
\nLuchino Visconti, Taliansko 1963, 185′<\/li>\n
\n<\/strong>Ludwig<\/a>
\nLuchino Visconti, Taliansko 1973, 238′
\n
\n<\/strong><\/li>\n
\n<\/strong>Hviezdy ve\u013ek\u00e9ho voza |\u00a0Vaghe stelle dell\u2019Orsa<\/a>
\nLuchino Visconti, Taliansko 1965, 105′<\/li>\n<\/ul>\n\n
\n<\/strong>Cudzinec | Lo straniero<\/a>
\nLuchino Visconti, Taliansko 1967, 104′<\/li>\n
\nSmr\u0165 v Ben\u00e1tkach | Morte a Venezia<\/a>
\nLuchino Visconti, Taliansko 1971, 124′<\/li>\n<\/ul>\n\n
\n<\/strong>V\u00e1\u0161e\u0148 | Senso<\/a>
\nLuchino Visconti, Taliansko 1954, 115′<\/li>\n
\n<\/strong>S\u00famrak bohov | La caduta degli dei<\/a>
\nLuchino Visconti, Taliansko 1969, 155′<\/li>\n<\/ul>\n