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The Damned (Italian: La caduta degli dei, German: Götterdämmerung) is a 1969 film by Luchino Visconti, on the Nazi Party's rise to power in 1930's Germany. This article is about the 1963 movie. ... Image File history File links Emblem-important. ... Image File history File links Broom_icon. ... Shortcut: WP:WIN Wikipedia is an online encyclopedia and, as a means to that end, also an online community. ... Shortcut: WP:CU Marking articles for cleanup This page is undergoing a transition to an easier-to-maintain format. ... This Manual of Style has the simple purpose of making things easy to read by following a consistent format — it is a style guide. ... Image File history File links Broom_icon. ... Luchino Visconti. ... Luchino Visconti. ... Sir Derek Jules Gaspard Ulric Niven van den Bogaerde (28 March 1921 – 8 May 1999), better known by his stage name Dirk Bogarde, was an actor and author. ... Ingrid Thulin (27 January 1926 – 7 January 2004) was a Swedish actress. ... Helmut Griem (born April 6, 1932 in Hamburg; died November 19, 2004 in München) was a German actor. ... Helmut Berger (born May 29th 1944 as Helmut Steinberger in Bad Ischl, Austria) is an Austrian actor. ... WB or Wb or wb may stand for: Internet chat slang for welcome back Wachovia Corporation, stock symbol Warner Bros. ... is the 287th day of the year (288th in leap years) in the Gregorian calendar. ... Also: 1969 (Stargate SG-1) episode. ... Luchino Visconti. ... The National Socialist German Workers Party (German: , or NSDAP, originally known as the DAP (this changed in 1920) and commonly known as the Nazi Party), was a political party in Germany between 1920 and 1945 that was known as the German Workers Party before the name was changed in 1920. ...

The film was shoted mixing English and German languages. In Italy it was dubbed into Italian-language.

Analysis of the major critical responses in English

Through an analysis of The Damned (1969) with some detailed comparative work of The Leopard (1962) this article argues that the work of Visconti is overdue critical revision. Visconti's oeuvre is highly sophisticated regarding the nature of history. In these two films Visconti analyses two critical turning-points in modern European history. See also: The Leopard To meet Wikipedias quality standards, this article or section may require cleanup. ...

Firstly there is the Risorgimento. Secondly he examines the accession to, and consolidation of, power of the Nazis between 1933-1934. These represent the major triumphs of nationalism of the 19th century often seen as progressive and the closure of this era of nationalism which by the 1930s can be seen as highly regressive. Post First World War nationalisms had led to a tranche of reactionary governments across central and eastern Europe as well as in Italy and later Spain. Italian unification, also known as Risorgimento (resurrection), was a historical process by which the Kingdom of Sardinia (ruled by the Savoy dynasty with Turin as its capital) gradually conquered the Italian peninsula, including the Kingdom of the Two Sicilies, the Duchy of Modena, the Grand Duchy of Tuscany, the Duchy... Eugène Delacroixs Liberty Leading the People, symbolising French nationalism during the July Revolution 1830. ... Ypres, 1917, in the vicinity of the Battle of Passchendaele. ... In structured finance, the word tranche (sometimes traunche) refers to one of several related securitized bonds offered as part of the same deal. ...

For Visconti, Nazi Germany represents the nadir of this wider reactionary nationalism. Historically Nazism was to play out the end of this movement in the most melodramatic of ways. The Damned functions as a film about the few critical months between February 1933 and June 1934, which saw the solid installation of a regime that would bring Europe crashing to its knees and end the period which the Risorgimento opened. For Visconti, The Damned is nothing less than a representation of an attempt to turn back the tide of history. The nadir (from Arabic نظير nazir, opposite) is the astronomical term for the point in the sky directly below the observer, or more precisely, the point in the sky with an inclination of −90°. In simple terms, if you are standing on the earth, it is the direction down toward your...

The other main critical work in English on Visconti by is by Bacon (1998). Bacon's otherwise interesting and insightful work also fails to grapple fully with Visconti's understanding of history. As a result Bacon re-inscribes Visconti as a Liberal democrat. A careful reading of Visconti's work reveals a very profound and decidedly Marxist approach to history and representation. Liberal democracy is a form of representative democracy where elected representatives that hold the decision power are moderated by a constitution that emphasizes protecting individual liberties and the rights of minorities in society, such as freedom of speech and assembly, freedom of religion, the right to private property and privacy... Marxism is the political practice and social theory based on the works of Karl Marx, a 19th century philosopher, economist, journalist, and revolutionary, along with Friedrich Engels. ... In politics, representation describes how residents of a country are empowered in the government. ...

The Damned has often been regarded as the first of Visconti's films described as 'The German Trilogy'. The others are Death in Venice (1973) and Ludwig (1973). Henry Bacon (1998) specifically categorizes these films together under a chapter 'Visconti & Germany'. Visconti's earlier films had analysed Italian society during the Risorgimento and postwar periods. Bondanella (2002) has seen the trilogy as a move to take a broader view of European politics and culture. Stylistically, 'they emphasise lavish sets and costumes, sensuous lighting, painstakingly slow camerawork, and a penchant for imagery reflecting subjective states or symbolic values,' comments Bondanella. The novella Death in Venice was written by the German author Thomas Mann, and was first published in 1912 as Der Tod in Venedig. ... Ludwig is a 1972 film by Italian director Luchino Visconti about the life and death of Ludwig II of Bavaria, mostly known today for his blind admiration for Richard Wagner and his commissioning of many palaces in Bavaria such as Neuschwanstein and Herrenchiemsee. ...

Bondanella also notes that much critical discourse has confused the examination of decadence with a recommendation for its continuation. Visconti has commented that he was interested 'in the analysis of a sick society', and there is a marked difference between the representation of rising modernity and its links with the bourgeoisie in The Leopard compared with the stasis of Europe encapsulated by a sick fin de siecle Venice and a moribund Bavarian monarchy. These represent issues raised by the construction of the Bismarckian strong state and aspects of the weakness of the old empire of Austro-Hungary and its former ally Bavaria. Modernity is a term used to describe the condition of being modern. Since the term modern is used to describe a wide range of periods, modernity must be understood in its context. ...

The Damned takes as its subject matter the relationships among the heavy industrialists in the late Weimar Republic on the cusp of Nazi success and the need for the Nazi leadership to discipline, and revise its fundamentals should it wish to reach the heights of power with the blessing of the powerful industrialists. This case study seeks to analyse The Damned through the lens of Visconti's notion of 'anthropomorphic cinema'. Anthem Das Lied der Deutschen Germany during the Weimar period, with the Free State of Prussia (in blue) as the largest state Capital Berlin Language(s) German Government Republic President  - 1918-1925 Friedrich Ebert  - 1925-1933 Paul von Hindenburg Chancellor  - 1919 Philipp Scheidemann(first)  - 1933 Kurt von Schleicher (last) Legislature...

Nowell-Smith defines this as a situation where 'the movement of social forces is reflected in the actions and passions of individuals expressed through the representation of character' (Nowell-Smith 2003, p 151). Furthermore anthropomorphic cinema within The Damned relates the historical processes which Visconti develops to the differing ways in which Gramsci's notions of Hegemony can emerge as a regressive not only progressive force. Hegemony (pronounced or ) (Greek: ) is the dominance of one group over other groups, with or without the threat of force, to the extent that, for instance, the dominant party can dictate the terms of trade to its advantage; more broadly, cultural perspectives become skewed to favor the dominant group. ...

Critics have commented that Visconti has been strongly influenced by William Shirer's Rise and Fall of the Third Reich and also by Thomas Mann's 'Buddenbrooks. It is also noted that Visconti read other historical publications apart from Shirer. Shirer was an American journalist covering events in situ which he later turned into a book. It was certainly widely influential, however historiography of the Nazi period has moved on considerably since then 2. Visconti might well have been strongly influenced by Italian historiography of the time which in general has been viewed as 'ethico-political' by Martin Clark (1984) in a standard British text of Italian history. William Lawrence Shirer (1904 - 1993), U.S. historian & journalist. ... For other persons named Thomas Mann, see Thomas Mann (disambiguation). ... Buddenbrooks [1]was Thomas Manns first novel, published in 1901 when he was twenty-six years old. ...

v • d • e Cinema of Italy

Films A-Z • Films by year: 1905–1939 • 1940s • 1950s • 1960s • 1970s • 1980s • 1990s • 2000s List of actors • List of actresses • Actors • Directors • Animation • Cinematographers • Editors • Producers • Score composers • Screenwriters The history of Italian cinema began just a few months after the Lumière brothers had discovered the medium, when Pope Leo XIII was filmed for a few seconds in the act of blessing the camera. ... Image File history File links No higher resolution available. ... A list of the most notable films produced in the Cinema of Italy ordered by year and decade of release For an alphabetical list of articles on Italian films see Category:Italian films. ... List of Italian films of the 1940s. ... List of Italian films of the 1950s. ... List of Italian films of the 1960s. ... List of Italian films of the 1970s. ... List of Italian films of the 1980s. ... List of Italian films of the 1990s. ... List of Italian films of the 2000s. ... This is a complete list of male actors from Italy, which generally means those who reside in Italy or those who have appeared largely in Italy film productions. ... This is an incomplete list of actresses from Italy. ...