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Journal articles on the topic 'Pasolini'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

Matthey, Laurent, and Nicola Cantoreggi. "“The Form of a City”: Pasolini and the Poetic Ecology of the Sign." Space and Culture 20, no. 4 (June 19, 2017): 399–414. http://dx.doi.org/10.1177/1206331217707472.

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This article examines the potential contributions of Pasolinian anthropology to urban studies. Pasolinian anthropology aims to articulate a historical moment (i.e., the acceleration of the second industrial revolution in Italy between the mid-1960s and mid-1970s) with environmental and urban transformations. The authors sketch a portrait of Pasolini as a primitive theoretician who supported that which would become known as landscape urbanism. The authors mainly consult Pasolini’s journalistic writings published in two anthologies ( Lettere luterane, Scritti corsari) and an incomplete pedagogical manual ( Gennariello). The authors also refer to four of his documentary films ( Comizi d’amore, Appunti per un film sull’India, Appunti per un Orestiade Africana, and Pasolini e la forma della città) and tangentially to two of his novels ( Racconti romani and Petrolio) as well as to his correspondence and poems (particularly Gramsci’s Ashes).

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Caradonna, Chiara. "Mandel’štam. Rom. Pasolini." Volume 62 · 2021 62, no. 1 (October 1, 2021): 291–320. http://dx.doi.org/10.3790/ljb.62.1.291.

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Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.

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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (April 30, 1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.

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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall development of Pasolini's genre.

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Romanelli, Claudia. "From dialogue writer to screenwriter: Pier Paolo Pasolini at work for Federico Fellini." Journal of Screenwriting 10, no. 3 (September 1, 2019): 323–37. http://dx.doi.org/10.1386/josc_00007_1.

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Pier Paolo Pasolini was a poet, novelist, essayist and filmmaker who also worked as a screenwriter for some of the most important Italian directors including Mario Soldati, Mauro Bolognini and Bernardo Bertolucci, to name a few. While Pasolini’s poems, novels and films are widely studied, his work as a screenwriter has not attracted much critical attention. This is partly because Pasolini tended to collaborate with directors whose artistic tastes were very different from his own, making it difficult to understand what he could possibly bring to the films on which he worked. The fact that he took his first steps in the screenwriting teams for which Italian cinema was famous has also contributed to downplay his screenwriting activity. One such example is his contribution to Federico Fellini’s screenplays. Fellini first approached Pasolini because he wished to revise the dialogue in Le notti di Cabiria, which he thought lacked the authentic feel of the language spoken in the Roman slums where the film took place. Although critics have always assumed that Fellini discarded Pasolini’s revisions to his scripts, archival sources tell a different story, revealing Pasolini’s key contribution to Fellini’s work and his eagerness to leave a lasting impression on it.

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Rappaport, Mark. "The Autobiography of PIER PAOLO PASOLINI." Film Quarterly 56, no. 1 (2002): 2–8. http://dx.doi.org/10.1525/fq.2002.56.1.2.

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The Autobiography of Pier Paolo Pasolini re-examines Porcile, one of Pasolini's least well-received films, in light of his own comments about and obvious affection for the work and in relation to his better-known films Teorema and Salòò. The seeming opacity of the film is clarified by reading it as a parable not only about transgressions in closed societies but also, more specifically, about homosexuality, a subject that Pasolini, although he made no bones about his sexual orientation in real life, never fully explored in his films.

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Pasolini, Pier Paolo, Rosa Mucignat, and Cristina Viti. "The Turks in Friuli." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 329–43. http://dx.doi.org/10.1632/pmla.2020.135.2.329.

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Pier Paolo Pasolini Continues to Be Known Outside of Italy Primarily as A filmmaker and Controversial Public Intellectual whose uncompromising explorations of sexuality, religious meaning, and social exclusion gave expression to a “uniquely provocative and prophetic modernity” (Hirschman 9). Recent scholarship in English is only beginning to reveal the extraordinary variety and quality of Pasolini's writing in Italian, and it has barely touched on his early works in Friulian. Friulian is a Romance variety spoken in Friuli, a region in the far northeast of Italy, where Pasolini spent many a summer as a child in his mother's hometown of Casarsa. In the Friulian of Casarsa, Pasolini thought he had found a “pure poetic language” (“Al lettore” 8), unsullied by previous literary usage yet integral to the archaic lifeworld of the marginalized peasants for whom he felt “a sweet and violent love, both turbid and pure” (Passione 137).

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Murphy, Jill. "Dark fragments." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 39–56. http://dx.doi.org/10.33178/alpha.7.03.

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The short film La ricotta (Pier Paolo Pasolini, 1963) tells the story of Stracci, an extra working on a film of the life of Christ, which is presented in part via tableaux vivants of Mannerist paintings. Pasolini’s film is replete with formal, stylistic and narrative binaries. In this article, I examine a particularly emphatic binary in the film in the form of the abstract, ethereal corporeality of the Mannerist paintings versus the raw and bawdy corporeality of Stracci. I show that through the reenactment of the paintings and their literal embodiment, Pasolini creates a rapprochement and, ultimately, a reversal between the divine forms created by the Mannerists and Stracci’s unremitting immanence, which, I argue, is allied to the carnivalesque and the cinematic body of Charlie Chaplin’s Little Tramp. I examine how Pasolini gradually deposes the Mannerists, and thus the art-historical excesses and erotic compulsion he feels towards the crucifixion, substituting in their place the corporeal form of Stracci in all its baseness and profanity.

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8

Stochino, Emanuele. "Pier Paolo Pasolini and the Sacred." New Theatre Quarterly 39, no. 2 (May 2023): 103–23. http://dx.doi.org/10.1017/s0266464x23000052.

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Pier Paolo Pasolini (1923–1975) fashioned poetry, prose, cinema, and theatrical works, and how he conceived of the sacred is more thoroughly understood in relation to his working biography. Two films, The Gospel According to St Matthew and La Ricotta, together with his tragedies, overwritten on the Greek plays The Eumenides and Medea are here in focus, indicating why Pasolini drew on Mircea Eliade’s method of integrating historical, phenomenological, and hermeneutical approaches. Declaring himself a Marxist, Pasolini did not accept Eliade’s theory in full, while the two concepts that most link him to Eliade are the latter’s ‘eternal return’ and ‘hierophanies’. Pasolini had grown up immersed in the natural world of Friuli, Northern Italy, and he considered hierophanies as an immanent manifestation of the sacred in nature. In doing this, he discovered both the immensity of the archaic peasant world and the cosmogonic matrix of his religion. Pasolini’s ontological vision of being led him to define the eternal return as the cyclical time of nature, the movement of life in respect of the inscrutable laws of the cosmos and the transcendent supernatural. Cyclical time meant death and resurrection and thus the possibility of regeneration, like a seed that dies to become a plant.

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Zwick, Reinhold. "Pier Paolo Pasolini und das Christentum. Einige Facetten einer Komplexen Beziehung." Roczniki Nauk Społecznych 51, no. 4 (December 28, 2023): 7–30. http://dx.doi.org/10.18290/rns2023.0043.

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Mit seinen vielgestaltigen künstlerischen Arbeiten und bemerkenswert aktuell gebliebenen kulturkritischen Schriften erfreut sich Pier Paolo Pasolini (1922-1975) auch fast fünfzig Jahre nach seinem Tod ungebrochen hoher internationaler Aufmerksamkeit. Der vorliegende Beitrag profiliert die zentrale, gleichwohl zumeist unterschätzte Rolle des christlichen Glaubens für Pasolinis Leben und Werk, ungeachtet seiner Selbstbezeichnung als Atheist. Teils überblickshaft, teils in entfalteten Stichproben kommen dazu ausgewählte biographische Zeugnisse, literarische Arbeiten und Filme Pasolinis in den Blick, insbesondere seine beiden ihm sehr wichtigen, unrealisiert gebliebenen Filmprojekte „Der heilige Paulus“ und sein letztes Filmskript „Porno-Theo-Kolossal,“ der intendierte Schlussstein und die Summe seiner Regiearbeiten. Dabei wird die markante christologische Ader sichtbar, die nicht nur Pasolinis Oeuvre, sondern auch sein Leben tiefgreifend durchformt.

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Velásquez, Juan C. "Herculean Unproductivity in Pasolini's La ricotta and Teorema." Cultural Politics 18, no. 2 (July 1, 2022): 208–26. http://dx.doi.org/10.1215/17432197-9716267.

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Abstract This article examines the relationship between work, capitalist productivity, and the filmmaking practice of Pier Paolo Pasolini. This article examines how Pasolini's La ricotta and Teorema represent an interruption of labor and a contestation of the disciplining mechanisms that compel workers to work. Recuperating Jean-François Lyotard's concept of acinema, this inquiry suggests that Pasolini creates scenes that oppose the capitalist work ethic through formal techniques associated with immobility and contingency. It deploys Hannah Arendt's concept of action and Jacques Rancière's dissensus to describe workers’ political actions in these films as gestures where they shed their identity as workers to enjoy life as humans. The purpose of this intervention is to reframe academic debates of anticapitalism around workers’ desire not to work. Pasolini's films give viewers images that highlight workers’ unproductive potentials, thereby giving them examples of immobile, nonwork dissensual actions, or Herculean unproductivity.

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Gandy, Matthew. "The Heretical Landscape of the Body: Pier Paolo Pasolini and the Scopic Regime of European Cinema." Environment and Planning D: Society and Space 14, no. 3 (June 1996): 293–309. http://dx.doi.org/10.1068/d140293.

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Pier Paolo Pasolini, the Italian poet, novelist, and film director, is widely regarded as one of the most significant figures to emerge in postwar European culture. In this paper I focus on four of Pasolini's films, Mamma Roma, Theorem, Arabian Nights, and Saló, in order to explore the innate tension in his work between nature and culture emerging from his search for cultural authenticity and artistic autonomy. I show that his earlier concern with the superiority of rural life evolved into an emphasis on the body and sexuality as an ontologically privileged and prelinguistic source of meaning in his ‘cinema of poetics’. I suggest that Pasolini never successfully resolved the problematic place of the cinematic medium in relation to culture as a contested historical process of ideological signification. I conclude that the contradictions within Pasolini's work have implications for the contemporary critique of occularcentristn under Western modernity.

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12

Brunazzo, Alessandro. "Suspended meanings: Pier Paolo Pasolini’s and Ritwik Ghatak’s ‘epic melodramas’." Journal of Italian Cinema & Media Studies 12, no. 3 (July 1, 2024): 343–59. http://dx.doi.org/10.1386/jicms_00264_1.

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Pier Paolo Pasolini’s encounter with India is well known, but India’s engagement with Pasolini’s work is much less considered. This article puts the work of Pasolini in dialogue with the work of Bengali director Ritwik Ghatak, one of the most important figures in Indian parallel cinema. Ghatak discussed the Italian director’s work on several occasions. More importantly, Ghatak’s intellectual path and films have notable similarities with Pasolini’s. Both directors, Ghatak and Pasolini, pursued a ‘heretical’ approach to Marxist ideology by contaminating it with a passionate identification with the marginalized communities of today’s Bangladesh and southern Italy, respectively. Drawing from film critic Bhaskar Sarkar’s notion of epic melodrama, I suggest an analysis of two coeval films, Mamma Roma () and Meghe dhaka tara (The Cloud-Capped Star) (), in order to expose the directors’ complex location between Brechtian aesthetic, epic-religious vision and melodramatic motives. This article argues that these epic-melodramatic films suspend a final interpretation, providing an aesthetic correlative to the unreconciled position of the people the directors aimed to represent.

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Elliott, Tomas. "Derek Jarman’s Tempest, William Shakespeare’s Salò." Humanities 12, no. 4 (August 3, 2023): 76. http://dx.doi.org/10.3390/h12040076.

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This article re-evaluates Derek Jarman’s adaptation of William Shakespeare’s The Tempest (1979) based on archival research into the cinematic and historical intertexts that influenced the film. Specifically, it focuses on the impact of Pier Paolo Pasolini on Jarman’s aesthetics, particularly the Italian filmmaker’s last work: Salò, or the 120 Days of Sodom (1975). The article explores how Jarman used Pasolini’s work as a filter through which to frame his adaptation of Shakespeare’s play. In so doing, he produced a decidedly Pasolinian twist on The Tempest, which he explicitly referred to in his notes as “Shakespeare’s Salò.” Bridging the gap between the Renaissance and Jarman’s contemporary moment, Jarman’s film offers a meditation on ideas of captivity and captivation in The Tempest, which extends from the play and film’s literal representations of imprisonment to their exploration of the affective power of performance and spectacle.

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Lattarulo, Salvatore Francesco. "“Fratelli dei cani”: Autobiographical and autodiegetic interferences of the incipit of Pier Paolo Pasolini’s Orestiade." Translationes 14, no. 1 (December 1, 2022): 63–84. http://dx.doi.org/10.2478/tran-2022-0004.

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Abstract Starting from the examination of a marginal text like Letter of the translator, this article analyzes Pier Paolo Pasolini’s translation of the prologue to Aeschylus’ Agamemnon. The paper delves into the central image of Pasolini’s Letter: the comparison between the translator and a dog picking a bone. This juxtaposition alludes to the method used by the translator, which is based on an instinctive approach to the text, similar to that of a beast. I think that this rhetorical figure was suggested to Pasolini by the figure of the lookout on the roof of Atrides’ royal palace; his solitary nocturnal vigil is compared to the derelict condition of a dog. In the association between man and dog made by Aeschylus at the beginning of his trilogy (Orestea), Pasolini finds an expressive way very congenial to himself. In fact, this analogy is used in many points of his entire production as a writer to indicate the marginalization of the intellectual. The immediate proximity that the contemporary poet feels to the canine world implies an unconscious identification of the translator with the hardships of the Aeschylean character. This direct relationship between the human sphere and the animal sphere would explain the free and personal aspect of some interpretative choices about the introductory monologue of the Greek tragedy. It would also explain why Pasolini intended to reuse the prologue of Agamemnon, which he translated into a chapter of the posthumous novel entitled Petrolio.

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Amberson, Deborah. "Neo-Capitalism, Acedia and Non-Style in Pier Paolo Pasolini's Petrolio." Quaderni d'italianistica 29, no. 2 (June 1, 2008): 53–72. http://dx.doi.org/10.33137/q.i..v29i2.8456.

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In his final novel, Petrolio, Pier Paolo Pasolini offers a dismal portrait of neo-capitalist Italy. Focusing on a programmatic referencing of sloth or acedia, this article explores a series of parallels between the symptomatology of the sin and what Pasolini saw as the unreality of consumerist culture. Conferring a central importance on Pasolini's declared intent to compose his final novel in a type of "non-style, " the article posits a stylistic implementation of the symptoms of acedia in Petrolio as part of a reconfiguration of intellectual engagement. This reconfigured engagement with neo-capitalist Italy is based on the provocative negation of the conventional author figure as purveyor of style and the related attempt to insert the living voice within the confines of literary artifice.

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Twomey, Jay. "To An Unknown Apostle: Moments of Pauline Undoing in Pier Paolo Pasolini’s Saint Paul." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 518–32. http://dx.doi.org/10.1163/15685152-02745p04.

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AbstractAfter situating Pasolini’s sketch for a screenplay about the apostle within a broad context of Pauline retellings, this essay goes on to explore the uneasy tension Pasolini develops between Paul as representative of an oppressive religious authority, and Paul as frail, entrancing, humbled mystic. The tension is uneasy because it represents something of a false dichotomy. The real choice offered in the screenplay, the paper argues, is between Paul the New Testament personality, and Paul the ordinary, and mostly unknown, individual. While Pasolini may barely hint at the possibilities of so understated a treatment, his example sets the stage (so to speak) for an intriguingly contemporary response to more typical examples of Pauline reception (especially among critics inspired by the Paul of Badiou, Agamben, et al.).

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Collins, Jason Michael. "The Duality of Paul in Pier Paolo Pasolini’s Saint Paul: The Katechon and the Collapse of a Film Project." Humanities 12, no. 6 (December 5, 2023): 144. http://dx.doi.org/10.3390/h12060144.

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Recent scholarship on Pier Paolo Pasolini has put into focus many of the Italian intellectual’s lesser-known works. Among these is his screenplay for an unrealized film on the topic of the apostle Paul, San Paolo. Analyses of the film address Pasolini’s portrayal of Paul as dichotomic, as a representation of both revolutionary and conformist. In examining the criticism that addresses the duality of Saint Paul’s, this representation proves essential to understanding the role Pasolini intended the apostle to play. Paul, one of the architects of the Christian religion, is in fact the katechon that he names in 2 Thessalonians. Paul as the katechon is thus the force that holds back evil and annihilation. In doing so, however, he also prevents Man’s final redemption. As such, his portrayal of Paul is blasphemy, and Pasolini sent this screenplay to Don Emilio Cordero, head of Sampaolo Films, a Catholic film company charged with making religious movies in line with Church doctrine. This depiction of Paul proves one reason the film remains unmade and not solely the astronomical costs evident from the screenplay, as has been generally accepted until now.

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Ricciarelli, Giorgio. "All'ombra delle madri: Gadda e Pasolini." II, 2022/2 (gennaio-dicembre), no. 2 (October 8, 2022): 1–29. http://dx.doi.org/10.35948/dilef/2023.4298.

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AbstractIl saggio si concentra sul rapporto di Gadda e di Pasolini con le rispettive madri, analizzando le somiglianze e le differenze di tali legami. Si osserva come le due figure femminili abbiano influenzato sensibilmente la biografia e la bibliografia dei due celebri autori.The essay focuses on Gadda's and Pasolini's relationship with their respective mothers, analysing the similarities and differences of these ties. It looks at how the two female figures significantly influenced the biography and bibliography of the two famous authors.

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White, Robert G. "From Bethlehem to Basilicata: Framing Pasolini from Palestine." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 59–76. http://dx.doi.org/10.1386/jicms_00102_1.

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Sopralluoghi in Palestina (Location Hunting in Palestine) (1965) documents Pasolini’s search for an archaic, biblical world within which to set Il Vangelo secondo Matteo (The Gospel According to St. Matthew) (1964). Pasolini’s search in Palestine/Israel was eventually abandoned, with The Gospel According to St. Matthew being filmed in and around Basilicata. Pasolini’s documentary has proven a fertile object with which Palestinian artists have conducted dialogues. Following Edward Said, this article reads the documentary ‘contrapuntally’ ‐ as a text to be resituated and responded to ‐ through two responses: Ayreen Anastas’s Pasolini Pa* Palestine (2005) and Basma Alsharif’s Ouroboros (2017). Examining Alsharif’s engagement with Carlo Levi’s Cristo si è fermato a Eboli (Christ Stopped at Eboli) (1945), the article interrogates Pasolini’s and Levi’s Basilicata and Anastas’ and Alsharif’s responses from Palestine, arguing that the contrapuntal movement between these four works constitutes a ‘dialectical’ cinematic image of Palestine ‐ between image and reality, the archaic and the contemporary.

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Navarro Espinach, Germán. "La Edad Media a través del cine: La Trilogía de la Vida de Pasolini." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 286. http://dx.doi.org/10.7203/eari.10.14089.

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Resumen: El cine es una herramienta muy importante para aproximarse a otras épocas históricas con el objetivo de tratar cuestiones de género y diversidad. Un ejemplo claro al respecto lo constituye la denominada Trilogia della Vita o Trittico della Vita de Pier Paolo Pasolini, tres películas que recrean los cuentos eróticos más famosos de la Edad Media desde la Cristiandad al Islam: Il Decameron de Giovanni Boccaccio, I racconti di Canterbury de Geoffry Chaucer e Il fiore delle Mille e una notte. El cine nos muestra así a una literatura histórica singular que representa a una Edad Media diferente. En ese sentido, este artículo analiza por primera vez el valor que tienen estas tres películas de Pasolini en el área de conocimiento de la historia medieval desde la perspectiva queer para fomentar la educación artística y los derechos LGTBIQ+ en la universidad. Es también un pequeño homenaje a la biografía extraordinaria de Pasolini, escritor, filósofo y fundador del llamado cine de poesía. Palabras clave: cine, literatura, Edad Media, género, diversidad sexual, Pasolini, educación artística, derechos humanos. Abstract: Cinema is a very important tool to approach other historical periods with the aim of talking about gender and diversity. A clear example of this is the Trilogy of Life by Pier Paolo Pasolini, three films that recreate the most famous erotic tales of the Middle Ages from Christianity to Islam: Giovanni Boccaccio’s The Decameron, Geoffrey Chaucer’s The Canterbury Tales, and The Thousand and One Nights (often known as The Arabian Nights). Thereby, cinema shows us a singular historic literature that represents a different Middle Ages. In this way, this article analyzes for the first time the value of these three films in the knowledge area of Medieval History from the queer perspective to promote Art Education and GLBTIQ+ Rights at the University. It is also a small tribute to the extraordinary Pasolini’s biography, writer, philosopher and founder of the so-called poetry cinema. Keywords: cinema, literature, Middle Ages, gender, sexual diversity, Pasolini, art education, human rights. DOI: http://dx.doi.org/10.7203/eari.10.14089

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Bystrova, Tat’yana A. "PIER PAOLO PASOLINI AND CONTEMPORARY ITALIAN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2022): 114–21. http://dx.doi.org/10.28995/2686-7249-2022-3-114-121.

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The article is concerned with the perception of Pasolini’s works and ideas in the contemporary Italian literature. Many modern writers mention or refer to Pasolini in their works. For some of them he is a brilliant rebel of the 1970s (Elena Ferrante), others are still shocked by his death (Andrea Baiani), some turn to his literary heritage, borrowing individual ideas and images (the idea of Post-history cited by Antonio Scurati, the theme of duplicity by Sandro Veronesi, the theme of consumerism in modern society by Walter City) or echo by the very structure of their works (Giuseppe Genna). Pasolini becomes an example or a beacon for many modern writers, he is seen as a man who is undividedly devoted to the word and at the same time has a clear ideological position, who put above all the needs of his neighbors and who took on himself the role of the national conscience revealing the ills of modern society.

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White, Jerry. "Pasolini in/and Catalonia: Translation, Minority Languages, and Internationalism." Comparative Literature 74, no. 1 (March 1, 2022): 99–118. http://dx.doi.org/10.1215/00104124-9434537.

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Abstract This article posits that Pier Paolo Pasolini’s long engagement with Catalonia offers important insights into his practice as a poet, filmmaker, and thinker about language, as well as explaining the nature of his influence on other European cinemas. The first part of the article focusses on the special issue “Fiore di poeti catalani” of Quaderno romanzo alongside Pasolini’s poetry in and advocacy for the Friulan language. The second part of the article focusses on Joaquín (Joaquim) Jordà’s translation of Pasolini, published as Cine de poesía contra cine de prosa, alongside the emergence of the Barcelona school of filmmakers, of which Jordà was a part. Overall, the article argues that although there was clearly an Italian influence on Catalan cinema of the 1960s and 1970s, throughout the long course of his career there was a distinctly Catalan quality to Pasolini’s thought.

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Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 533–48. http://dx.doi.org/10.1163/15685152-02745p05.

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AbstractIn several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites – or perhaps even forces – its reader to imagine, to visualize, the film it describes. Pasolini’s ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul.

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Rinaldi (book author), Rinaldo, and Manuela Gieri (review author). "L'irriconoscibile Pasolini." Quaderni d'italianistica 12, no. 2 (October 1, 1991): 318–20. http://dx.doi.org/10.33137/q.i..v12i2.10490.

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Cacciari, Massimo, and Keala Jane Jewell. "Pasolini "Provencal"?" SubStance 16, no. 2 (1987): 67. http://dx.doi.org/10.2307/3685163.

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Barbato, Alessandro. "Pasolini l’Africain." Gradhiva, no. 20 (October 1, 2014): 168–91. http://dx.doi.org/10.4000/gradhiva.2876.

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Magnette, Paul. "Pasolini politique." Lignes 18, no. 3 (2005): 7. http://dx.doi.org/10.3917/lignes.018.0007.

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Mignone, Mario B., and Barth David Schwartz. "Pasolini Requiem." World Literature Today 68, no. 1 (1994): 104. http://dx.doi.org/10.2307/40149901.

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De Mauro, Tullio. "Pasolini Linguista." Italianist 5, no. 1 (June 1985): 66–76. http://dx.doi.org/10.1179/ita.1985.5.1.66.

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Stefano, John Di. "Picturing Pasolini." Art Journal 56, no. 2 (June 1997): 18–23. http://dx.doi.org/10.1080/00043249.1997.10791814.

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Romanska, Magda. "The theatre of cruelty and the limits of representation: Sade/Salò." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 259–84. http://dx.doi.org/10.1386/jafp_00031_1.

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When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade’s novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini’s goal was to remain faithful to Sade’s novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini’s idea of relocating Sade’s novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade’s world functions).

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Ferrara, Enrica Maria. "Posthuman identity and the human‐animal divide in Pier Paolo Pasolini’s The Hawks and the Sparrows and Pigsty." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 19–36. http://dx.doi.org/10.1386/jicms_00100_1.

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In this article, Ferrara puts forward the first analysis of Pier Paolo Pasolini’s films The Hawks and the Sparrows (1966) and Pigsty (1969) through the lens of posthumanist theory. She contends that by placing animal characters (raven and pigs) in close interaction with humans, Pasolini encouraged viewers to explore and overcome the human‐animal divide. In doing so, he aimed to expose the faulty binary premises of Marxist ideology and construct a posthumanist identity that recognized the illusory separation between body and mind, and between the human and its related others. Drawing on concepts such as Marchesini’s ‘mimesis’, Cronin’s ‘tradosphere’, Nancy’s ‘co-ontology’ and Braidotti’s ‘becoming animal’, this article shows how Pasolini considers an exit from anthropocentrism and human exceptionalism via trans-species solidarity. Eventually, in Pigsty, animality turns into a metaphor for all alterity. As humans are silenced by pigs, a new powerful language of ‘otherness’ gives birth to the posthuman human.

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Seger, Monica. "Book Review: Pasolini rilegge Pasolini. Intervista con Giuseppe Cardillo." Forum Italicum: A Journal of Italian Studies 41, no. 2 (September 2007): 557–58. http://dx.doi.org/10.1177/001458580704100232.

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Barbosa, Tereza Virgínia Ribeiro. "Sófocles, Sêneca e Pasolini." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 99–108. http://dx.doi.org/10.17851/2317-2096.8..99-108.

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Resumo: Vamos refletir sobre o filme Edipo Rei de Pier Paolo Pasolini a partir de cenas conjugadas com a forma e os elementos constitutivos das tragédias de Sófocles e Sêneca; com trechos de poesia antiga e ainda com alguns pontos de estudo de mitologia. Pretendemos também mostrar como Pasolini dialoga com Aristóteles acerca da elaboração do trágico e de seus efeitos.Palavras-chave: tragédia; cinema; Édipo; Sófocles; Sêneca; Pasolini.Abstract: The paper aims at examining, in terms of form and content, Oedipus Rex by Pier Paolo Pasolini in relation to theatrical scenes in tragedies by Sophocles and by Seneca. In addition, parts of old poems and some aspects of mythology will also be considered. The dialogue Pasolini has with Aristotle on the tragic and its effects is examined as well. Keywords: tragedy; cinema; Oedipus; Sophocles; Seneca; Pasolini.

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Solovieva, Olga V. "Peepshow, Death Camp, Art Gallery: The Spaces of Pasolini’s Salò and Mauri’s Intellettuale." TDR/The Drama Review 63, no. 1 (March 2019): 64–82. http://dx.doi.org/10.1162/dram_a_00817.

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Fabio Mauri’s performance Intellettuale, set in the context of the opening of Leone Pancaldi’s new building for the Museum of Modern Art in Bologna, summed up a life-long collaboration and controversy between Pier Paolo Pasolini and Mauri about the fate of Western art after WWII. In the context of Pancaldi’s building, Intellettuale throws into relief the cultural and ideological project of Pasolini’s filmmaking and its relation to the body art of the 1960s–’70s.

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Foortai, Francisca. "Pier Paolo Pasolini and His Myth: “The Trilogy of Life” Half a Century Later." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 50–68. http://dx.doi.org/10.21638/spbu15.2022.103.

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The article attempts to analyze Pasolini’s great trilogy, which includes the films “Decameron”, “Canterbury Tales”, and “Flower of the Thousand and One Nights”, taking into account the distance of half a century. This article shows the multi-layered nature of a great work of art, which serves as the basis for different understandings and evaluations of these works that took place during the life of Pasolini and decades after his tragic and mysterious death. The article also draws attention to difference in the methods of artistic expression between the elements of the literary image (phonemes) and cinematic visuality (kinemas), with which Pasolini experimented. Not agreeing with the established point of view that compares the “Trilogy of Life” with Dante’s division of hell, purgatory, and paradise, the author believes that Pasolini’s films based on literary works are not correctly considered as analogies with the metaphysical, “vertical” journey of Dante to the postmortem worlds. On the contrary, the movements in Pasolini’s trilogy — South, North-West, East — are “horizontal”, terrestrial, and even chronologically almost identical. Pasolini’s “Trilogy of Life” is rather three life modules that a person meets, in which “Decameron” is everyday life in its relationship with art (we see a similar situation in “Andrey Rublev” by A. Tarkovsky). “Canterbury Tales” is an expression of the joy of life associated with the comical nature of human corporeality. “Flower of the Thousand and One Nights” is a dream or tale about conquering love, in the entourage of the charming East, seen through the eyes of a European. This is why these films can rightly be called the “Trilogy of Life”.

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Allen, Thomas. "Angels, Guests and Sadists: On-Screen Poetry in the Cinema of Pier Paolo Pasolini." Film-Philosophy 27, no. 3 (October 2023): 377–400. http://dx.doi.org/10.3366/film.2023.0238.

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This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound’s poetry provides a soundtrack for the spectacle of torture in which the film’s libertines engage. Following this, I consider Pasolini’s 1965 text “The Cinema of Poetry” and use this text as a way of reading the role played by a copy of Rimbaud’s collected poems in Teorema ( Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron ( The Decameron, 1971) and Il fiore della mille e una notte ( The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film.

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Luk’yanchuk, Vladimir V. "PIER PAOLO PASOLINI: “SEX AS A METAPHOR FOR POWER”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2022): 95–103. http://dx.doi.org/10.28995/2686-7249-2022-3-95-103.

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The essay explores the question of the relationship between sex and power in the era of neocapitalism’s triumph and the formation of the consumeristic society in Pasolini’s two last works – the film Salò, or the 120 Days of Sodom, and the novel Oil (Petrolio). The likening of sex to the total consumeristic power is Pasolini’s contribution to the modern sociology and psychology, while his discovery of sex as a category of political power supports the same thesis Michel Foucault made a year later in his History of Sexuality: The Will to Knowledge, 1976. The 1970s were the years of crisis and destruction of the traditional culture, replaced by the new models of consumerism, stimulated by sex. Stylistically and generically different, the film and the novel interact with each other, as both deal with power and sex. The essay considers the texts, paramount to understanding the “late-period Pasolini”: Tetis, Abdication of the Trilogy of Life, and Sex as a Metaphor for Power.

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Rossignol, Valérie. "Ortese et Pasolini." Études Mai, no. 5 (April 22, 2021): 95–104. http://dx.doi.org/10.3917/etu.4282.0095.

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Thygesen, Erik, and Göran Greider. "Pasolini i Stockholm." World Literature Today 65, no. 1 (1991): 133. http://dx.doi.org/10.2307/40146256.

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Ferreri, Rosario, Nico Naldini, Pier Paolo Pasolini, and Nico Naldini. "Pasolini: Una vita." World Literature Today 64, no. 2 (1990): 293. http://dx.doi.org/10.2307/40146448.

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Siti, Walter, and Martine Segonds-Bauer. "Lettre à Pasolini." Po&sie 142, no. 4 (2012): 162. http://dx.doi.org/10.3917/poesi.142.0162.

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Tuccini, Giona. "Pasolini si rilegge." Romanic Review 96, no. 1 (January 1, 2005): 41–65. http://dx.doi.org/10.1215/26885220-96.1.41.

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La Porta, Filippo. "Pasolini e nós." Remate de Males 25, no. 1 (November 8, 2012): 105–14. http://dx.doi.org/10.20396/remate.v25i1.8636116.

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Calheiros, Alex. "Cinzas de Pasolini." Remate de Males 40, no. 2 (November 30, 2020): 511–25. http://dx.doi.org/10.20396/remate.v40i2.8660660.

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Pretendemos aqui desenvolver um percurso investigativo que elucide uma passagem do filme Caro diário, de Nanni Moretti, na qual se faz uma homenagem a Pier Paolo Pasolini, explorando suas implicações históricas, políticas e culturais. A hipótese desta investigação são as semelhanças estruturais e narrativas entre a homenagem de Nanni Moretti e o poema “Cinzas de Gramsci”, de Pasolini.

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Francese, Joseph, and Naomi Greene. "Pier Paolo Pasolini." Italica 69, no. 1 (1992): 79. http://dx.doi.org/10.2307/479462.

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Amoroso, Maria Betânia. "Pasolini crítico italiano." Revista de Italianística 1, no. 1 (December 30, 1993): 49. http://dx.doi.org/10.11606/issn.2238-8281.v1i1p49-59.

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Pasolini é conhecido como o intelectual mais polêmico da Itália contemporânea. Essa marcada característica crítica se encontra também na sua maneira particular de fazer crítica literária. O artigo analisa as resenhas literárias publicadas em Descrizioni di descrizioni com o intuito de traçar, em linhas gerais, o pensamento crítico de Pasolini em literatura.

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Vighi, Fabio. "Pasolini and Exclusion." Theory, Culture & Society 20, no. 5 (October 2003): 99–121. http://dx.doi.org/10.1177/02632764030205005.

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Colombo, Michele. "Pasolini a Stoccolma." Moderna Språk 117, no. 2 (December 27, 2023): 1–3. http://dx.doi.org/10.58221/mosp.v117i2.17602.

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Siti, Walter, and Martin Rueff. "Le mythe Pasolini." Critique 925-926, no. 6 (May 29, 2024): 151–58. http://dx.doi.org/10.3917/criti.925.0151.

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