The Art of Film

“The observations and encounters of a devotee of solitude and silence are at once less distinct and more penetrating than those of the sociable man; his thoughts are weightier, stranger, and never without a tinge of sadness. Images and perceptions which might otherwise be easily dispelled by a glance, a laugh, an exchange of comments, concern him unduly, they sink into mute depths, take on significance, become experiences, adventures, emotions.  Solitude begets originality, bold and disconcerting beauty, poetry.  But solitude can also beget perversity, disparity, the absurd and the forbidden.”

Thomas Mann, Death in Venice

Among the masterpieces of early twentieth-century European literature, Thomas Mann’s 1912 novella Death in Venice stands as one of the most subtle and unsettling meditations on beauty, art and moral disintegration.

At first glance the story appears straightforward: ageing writer Gustav von Aschenbach travels to Venice seeking rest and renewal, only to become increasingly obsessed with the beauty of a young Polish boy, Tadzio. Yet, beneath this deceptively simple narrative lies an extraordinarily complex structure of mythological allusion, stylistic irony and philosophical reflection. Mann uses this sophisticated architecture to explore interwoven questions about the relationship between beauty and corruption, the conflict between artistic discipline and erotic fascination, and the danger inherent in the aesthetic idealization of youth.

This three-part study will approach Death in Venice through careful reading, examining the intricate ways Mann constructs meaning through language, narrative perspective and symbolic patterning. The narrator’s voice remains elegant, composed and almost ceremonially dignified, even as the increasingly troubling reality of Aschenbach’s behaviours becomes apparent and his psychological state deteriorates. This contrast generates a quiet but devastating irony which is essential to any reading of the text. 

Central to Mann’s method is what later critics, borrowing a phrase associated with modernist literary practice, have called the ‘mythic method’. Rather than recounting myth directly, Mann embeds classical mythological structures within the psychological narrative, transforming his tale into a mythic drama of descent.

Classical motifs (Mann’s ‘new classicism’—ironic, reflective, self-conscious) function as mythic signals guiding the reader beneath the surface of the narrative as the central character becomes a figure moving within an invisible mythological framework, his personal crisis repeating patterns drawn from antiquity. As the language of classicism slowly gives way to a dreamlike atmosphere of decay, Tadzio becomes less a character than a symbolic embodiment of ideal beauty itself.

Following our three-session literary study, we will turn to Luchino Visconti’s acclaimed 1971 film adaptation and examine the dynamic relationship between literature and film. Celebrated as one of the most visually striking adaptations of a modernist text, Visconti transforms Mann’s dense verbal narrative into a rich visual meditation on art, desire and mortality. In two additional sessions we will consider how Visconti reinterprets Mann’s work through cinema: how emphasis is shifted from literary interiority to visual atmosphere, how music—particularly the use of Mahler—reshapes the emotional structure of the story, and how the film’s imagery elaborates Mann’s themes of beauty, decadence and decline.

What happens when a story built on interior reflection and ironic narration is translated into images, gestures and sound? Which elements of Mann’s mythic structure survive the transition to cinema, and which are transformed or displaced? Where the novella relies on language and narrative irony, the film must communicate through composition, colour and rhythm.

Together, the elements of this study will allow us to observe a remarkable dialogue between two artistic forms.

JOINING DETAILS:

• Five two-and-a-half hour meetings, live on Zoom, led by John Allemand
• Mondays, 6.00-8.30 pm (UK time), 3, 10, 17, 24 & 31 August 2026
• Recommended edition: Thomas Mann, Death in Venice, translated by Michael Henry Heim, introduction by Michael Cunningham, Harper Collins Ecco, ISBN: ‎ 978-0060576172
• Luchino Visconti, Death in Venice (1971), is available on most streaming services (including Amazon Prime, Apple TV, You Tube TV, Hulu) and we also recommend Criterion Collection’s digitally remastered print of 2019.  We will show selected film clips during the study sessions, but participants are asked to watch the film closely in advance.
• £225.00 for twelve-and-a-half hour study over five meetings, to include background notes and resources.