Abel ferrara pasolini critique essay
In Pasolini’s essay on the structure of screenplays, in which he says cinema is another language, Pasolini refers to Italian and Bantu (a large population of Bantu people live in Tanzania, which Pasolini visited for his 1970 ): “If on one page we see the Bantu text and on the other the Italian text, the signs of the Italian text that we perceive execute the double carom that only extremely refined thinking machines such as our brains can follow.
Porcherie pasolini critique essay
It is a declaration one wants to argue with, even as one recognizes its terrible wisdom, as Pier Paolo Pasolini always seems to have been a man who was transcendent—if transcendence has anything to do with freedom of mind and spirit, with effort and its accomplishment, with beauty, insight, and pleasure. Essay Submitted August 2008
Taking Pasolini as such a European intellectual, as an artist-creator in several genres who was attempting to critique and negotiate his way through his culture, this essay will explore Pasolini’s introspective writings to see how they offer alternate readings of his filmic art. It will focus on the most overtly Freudian of his works, Edipo Re, to show how the “confessional” tone of this work is closely connected with the author’s constant questioning of cultural meanings (especially the tropes of the bourgeois family, as familiar from Freud’s work). Although Pasolini is most known from his films, his essayistic voice, as we shall see, has something of his own originality that has been overlooked in showing how he transforms a critique of bourgeois experience into a unique artistic construct. Moreover, as we shall see, his self-commentary allows us to reconsider his film as a case study of post-modernism in cinematography, where the internal cross-references between genres (especially essay, autobiography, and film) are revealed as particularly problematic, and where the borderlines between a reproductive and productive critique of bourgeois society (especially of its family stories) vanish.
Pier Paolo Pasolini - Wikipedia
The remarkable Love Meetings is nothing less than a cinema-vérité Kinsey Report – with occasional Godardian touches – on Italian sexual mores in the 1960s. Traveling across Italy, Pasolini and his camera interview people on the street, sunbathers at the beach and soccer players on the pitch about their attitudes towards marriage and divorce, homosexuality, prostitution, machismo and gender roles. While a notable consensus agrees that things are changing it remains less clear what, if anything, these changes mean. In one of his few essays on cinema, Michel Foucault wrote admiringly of the film’s ability to capture the complex ambiguity of reactions to the so-called “sexual revolution.”
Pier Paolo Pasolini, Writer: Accattone
I’ve been thinking about the cinematic long take a lot lately. I’ve always been obsessed with the long take. Among my favorite directors are Tarkovsky, Pasolini, Wong Kar Wai, Tsai Ming-liang. And lately I’ve been watching Bela Tarr on repeat. Like all his films over and over again, because I’m convinced that his use of the long take is accomplishing something very different than these other directors, a sort of reaching of a moment of clarity that results not in understanding but something else. Maybe something like the feeling of intimacy and claustrophobia and fear and relief that comes with giving a confession. Anyways, more thoughts on this coming soon. In the meanwhile, I wanted to post up Pasolini’s great essay on the long take. It framed a lot of thinking about the long take in film, what it means, etc. Sharing the essay with you below…
Pier Paolo Pasolini Pasolini, Pier Paolo (Vol
As a poet, novelist, essayist, film-maker, playwright, and altogether a highly controversial political figure, Pasolini was a particularly visible example of this type of intellectual, one of the consciences of post-war Italian society. He offered reflections on his own writing, on his sexuality, and on his society, leaving as his legacy not only an unparalleled body of films, [End Page 39] but also a body of self-reflexive criticism that allows us to consider him as the auteur or artist-creator of films, and also as a paradigmatic modern intellectual whose body of work pointed toward the alienation of meaning from itself—toward post-modernism and toward the critique of bourgeois traditions that was to characterize much of postwar Italian art, from Fellini through Wertmüller, Calvino, and Svevo.
In Danger: A Pasolini Anthology - City Lights Books
By analyzing Pasolini’s very personal adaptation of Sophocles’ tragedy through the lens provided by his essays and letters, I will point out the crucial differences between the two versions of Oedipus, that of the Greek tragedian and that of the European bourgeois intellectual Pier Paolo Pasolini, as they reveal his power as a self-constructed and self-referential intellectual voice and his goal of simultaneously reinstantiating and questioning central tropes of his culture.