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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 ...
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 ...
The Visitor (Terence Stamp). My latest movie, The Visitor, enacts a kind of détournement of Pasolini’s film, attempting to stay true to the original’s heart and soul while reconfiguring it in terms of contemporary queer themes and aesthetics. Teorema is already a deeply “queer” film, but the idea to “re-queer” it reflects present ...
Home to twenty birds (and a bat) that Chan took from the list of inedible fowl enumerated amid Leviticus’s dietary laws, this desolate landscape is first populated by twin slain poets of social injustice—a naked and shivering Pier Paolo Pasolini and an amputee Biggie Smalls in standard-issue puffy coat—before being overrun by a Hummer full of paparazzi snapping pics of the gnarled tree, now hung with bodies as in Goya’s “Disasters of War”; an invasion of pantless hunters ...
In the 1960s and ’70s, Pier Paolo Pasolini already averred that it is up to the poets—that is, the champions of intellectual rage and philosophical fury—to create a state of alarm that will resemble the actual state of emergency that he, following Walter Benjamin, demanded in his fight against fascism. 4 For Pasolini, one could not establish that state of emergency without first retrieving the traditions of the oppressed. If the substratum of the local and the vernacular is being ...
Hilma af Klint, The Swan, No. 21, Group IX/SUW, 1915, oil on canvas, 60 1/4 x 60 1/4″. The idea of a secret masterpiece seems ludicrous. Indeed, as Marcel Duchamp famously argued, a work of art needs to be known in order to be: Its existence depends on “the artist on the one hand, and on the other, the spectator who later becomes the ...
