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A critical study of Franco Zeffirelli's "La traviata"

The criticism directed at formal characteristics invites allusion to such cinematic matters as the use of the colors blue and gold as a visual leitmotif throughout the film; the use of chiaroscuro or Rembrandt lighting which adds to the illusory aspects of the story; the use of soft focus, formally indicative of dreaminess and subconscious impressions; the use of dissolves as a shot joining device for making associative connections between images and indicating shifts in time and space; the adjustment of the pace of shots, with shorter shot length for juxtaposed montage and longer shot length for mis en scene situations; high angle shots to emphasize distancing and falling; and superimpositions to illustrate emotional chaos.

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  • "Franco Zeffirelli's La Traviata"@en

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  • "The criticism directed at formal characteristics invites allusion to such cinematic matters as the use of the colors blue and gold as a visual leitmotif throughout the film; the use of chiaroscuro or Rembrandt lighting which adds to the illusory aspects of the story; the use of soft focus, formally indicative of dreaminess and subconscious impressions; the use of dissolves as a shot joining device for making associative connections between images and indicating shifts in time and space; the adjustment of the pace of shots, with shorter shot length for juxtaposed montage and longer shot length for mis en scene situations; high angle shots to emphasize distancing and falling; and superimpositions to illustrate emotional chaos."@en
  • "The dissertation begins with an examination of the macrostructure of the film and alerts the reader to such matters to attend to when reading the rest of the document as: structure of tragic sequences, including exposition, conflicts, climax and resolutions; use of aggregates of nonverbal representations and symbols to communicate."@en
  • "This dissertation is a critical analysis of Franco Zeffirelli's film, La Traviata, released in 1983. The concept of transforming one art form, opera, into another art form, film, is explored through a study of the filmic structure and its formal techniques."@en
  • "ABSTRACT."@en
  • "A CRITICAL STUDY OF FRANCO ZEFFIRELLI'S LA TRAVIATA."@en
  • "The body of the dissertation is a beginning-to-end explication of the film, with references to specific photographed illustrations intended to serve as reminders of the film, for which a list of plates is provided. One appendix contains a detailed description of the 642 shots, including visual content, length in seconds, camera movement, camera distance, camera angle, aural elements and transitional devices; and another includes all English subtitles listed according to shot."@en
  • "Because Zeffirelli's film respectfully regards the Verdi and Piave opera as its point of departure, comparisons are frequently made between the staged opera and this filmic version. Where cinematic techniques, such as opening up the action to move outside the theatre, as in the country scenes of Act II, i, have permitted Zeffirelli to enhance his production, those techniques are pointed out."@en
  • "Roxanne Elizabeth Solomon."@en

genre

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  • "Criticism, interpretation, etc"@en
  • "Film adaptations"@en

name

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  • "A critical study of Franco Zeffirelli's "La traviata""@en
  • "A critical study of Franco Zeffirelli's "La traviata""
  • "A critical study of Franco Zeffirelli's La Traviata"@en
  • "A critical study of Franco Zeffirelli's la Traviata"@en

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