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PIER PAOLO PASOLINI first visited New York City in late 1966, and what he found there surprised him: In the heated context of the antiwar movement and the struggle for civil rights—which he characterized forcefully as a “civil war”—the forty-four-year-old Italian poet and filmmaker rediscovered a spirit of political and cultural renewal that he had experienced only once before, during the last months of World War II, when the Italian partisans rose up against Nazism and Fascism in ...
Jul 16, 2020 · Pier Paolo Pasolini, Il Decameron (The Decameron), 1971, 35 mm, color, sound, 111 minutes. In foregrounding pleasure over labor, in celebrating, in Pasolini’s words, “the ontology of reality, whose naked symbol is sex,” The Decameron ’s carnivalesque view of the Trecento departs from the productivism and machine aesthetics that characterized Marxian and modernist representations of working-class agency.
Pier Paolo Pasolini, Mamma Roma, 1962, 35 mm, black-and-white, sound, 106 minutes. That much is apparent in the opening sequence of Mamma Roma , in which Anna Magnani as said mamma bursts into her former pimp Carmine’s wedding celebration shepherding three piglets and, in a perverse mockery of the Italian matrimonial tradition known as “La Serenata,” erupts in a scatological song dedicated to the newlyweds.
Dec 13, 2012 · Pier Paolo Pasolini, Il fiore delle mille e una notte (Arabian Nights), 1974, 35 mm, color, sound, 129 minutes. Photo: Rue des Archives/Granger Collection. Photo: Rue des Archives/Granger Collection. PASOLINI WAS AN EXTRAORDINARILY IMPORTANT figure in Italian and European culture, leaving his mark not only as a poet and filmmaker but also as a novelist, a journalist, and a theorist of the arts.
Nov 13, 2012 · PIER PAOLO PASOLINI’S so-called Trilogy of Life, which Criterion is reissuing today on Blu-Ray and DVD, consists of The Decameron (1971), The Canterbury Tales (1972), and Arabian Nights (1974). The explicit sexuality of these adaptations was what got everybody talking at the time, but what sets his medieval tales apart from his other work is that they represent Pasolini the filmmaker (he was also a poet, novelist, and critic) at his most optimistic.
By Pier Paolo Pasolini, translated from the Italian by William Weaver, New York: Carcanet, 1985 (published in Italy in 1959, and in England in 1968), 320 pp. “I WOULD LIKE TO make it quite clear to the reader,” writes Pier Paolo Pasolini, in a prefatory note to A Violent Life , “that everything he reads in this novel really happened, substantially, and continues really to happen.”
EPIPHANY OF THE OTHER: SEBASTIÃO SALGADO. The light was there, illuminating the roses and the portrait, and flags around them, perhaps, bundled up, in the humblest popular solemnity. —Pier Paolo Pasolini, The Divine Mimesis. THE PHOTOGRAPHS OF SEBASTIÃO Salgado leave remarkably durable afterimages that reappear long after one walks away ...
In 1957 Pier Paolo Pasolini published Le ceneri di Gramsci (Ashes of Gramsci), an anthology of poems that reflects the dramatic search of a generation reaching out to assume the role of the intellectual—that entity suspended between the tension of social problems and the aspiration of personal identity. The next year Jannis Kounellis made his first urban icons, followed by his letter works in 1959.
Glenn Ligon, Synecdoche (For Byron Kim), 2018, neon, 5 × 30 3⁄4". Throughout his career, Italian filmmaker Pier Paolo Pasolini spoke and wrote about his search for the “elsewhere,” which he defined as an alternative to the “anthropologically mutated” West. Indeed, his unfinished five-part film Notes for a Poem on the Third World ...
Pier Paolo Pasolini, Il fiore delle mille e una notte (The Flower of the 1,001 Nights), 1974, film poster, German version, 33 x 23 5⁄8″. Collection Willem de Rooij. Collection Willem de Rooij. Pier Paolo Pasolini, Il fiore delle mille e una notte (The Flower of the 1,001 Nights), 1974 , filmposter, Swedishversion, 39 3⁄8 x 27 1⁄2″.
