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意大利电影《沉沦》是卢奇诺·维斯康蒂1942年摄制完成的作品，这是他独立执导的第一部作品。此前，他担任法国导演让·雷诺阿的助手四年之久，因此在本片中我们可以看到法国诗意现实主义的巨大影响。《沉沦》的拍摄年代正好处于意大利法西斯统治行将灭亡之时，在片中我们既看不到法西斯政治宣传片的直白与空洞，也没有“白色电话片”的庸俗与麻木，而是直接描述了人性的荒野，原始情欲的毁灭性力量。这部影片居然能够在法西斯统治时代获得电影审查通过不能不说是一个奇迹。另外一方面，影片拍摄完成后由于意大利政治局势的动荡，虽然获得通过，却一直没有机会公映，直到战后才获得机会上映。由于影片所涉及的道德内容和表现方法，影片在公映后引起了巨大的社会反响和争论。作为一部承上启下的作品（之后是意大利新现实主义电影的欣欣向荣），《沉沦》无论是在题材选择还是在对空间环境的选择和表现上都在意大利电影史上占有重要的地位。特别是它的实景拍摄所具有的隐喻意义，把荒野与人物心灵的荒野相类比，与意大利新现实主义中的实景拍摄有很大的不同。本译文就是从《沉沦》的空间来谈影片的神话特性的。原文转自《黑与白》，1999年第2期。
The Italian film “Degradation” is a work done by Luciano Visconti in 1942, the first of his independent works. Earlier, he served as an aide to French director Jean Renoir for four years, so in the film we can see the great influence of French poetic realism. The time of “sinking” was just at the dawn of the fascist rule in Italy. In the film, we can neither see the straightforwardness or the hollowness of the fascist political propaganda film nor the vulgarity and numbness of the “white telephone film.” Instead, we directly describe The wilderness of mankind, the devastating power of primitive lusts. It is a miracle that this film can actually be censored during the fascist rule. On the other hand, after the filming was completed, due to the turmoil in Italy’s political situation, it was passed without any opportunity to be released until after the war. Due to the moral content of the film and the performance of the method, the film caused a huge social repercussions and controversy after its release. As an inspired work (followed by thriving Italian neo-realist films), Degradation occupies an important place in the history of Italian cinema, both in the choice of subject matter and in the choice and performance of the spatial environment. In particular, metaphorical significance of its live-action photography shows that the wilderness is analogous to the spiritual wilderness of a person and is quite different from the live-action photography in the Italian neo-realism. The translation is about the mythological features of the film from the “sinking” space. Original from “black and white”, 1999 second issue.