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Pier Paolo Pasolini

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Brazoliange

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Reply #15 on: May 31, 2005, 07:17:58 PM
/tear
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godardian

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Reply #16 on: February 05, 2006, 02:08:21 AM
So, um, I've just heard a leak of part of the new Morrissey single, in which he name-drops Italian cinema in almost every line: "Pasolini is me," "Visconti is me/Magnani you'll never be," L'Accatone, etc. The album was recorded in Rome, and that fact is all over the songs I've heard so far. For me, as a cinephile, someone of Italian heritage, and a totally unreconstructed Morrissey fan, this is the most exciting thing since My Voyage to Italy!
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

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matt35mm

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Reply #17 on: February 05, 2006, 02:56:37 AM
I've seen his Edipo Re (Oedipus Rex), and found it to be pretty mediocre.  Is there someone here who has also seen that film that can say whether or not it's a good representation of his other works, or if it's one of his weaker ones?


godardian

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Reply #18 on: February 05, 2006, 03:07:13 AM
I've seen his Edipo Re (Oedipus Rex), and found it to be pretty mediocre.  Is there someone here who has also seen that film that can say whether or not it's a good representation of his other works, or if it's one of his weaker ones?

I haven't seen that, but I'd say you can't go wrong with Mama Roma or Teorema (or La Commare Secca, Bertolucci's first film, which I believe Pasolini scripted).
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.


Stefen

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Reply #19 on: July 06, 2009, 12:51:26 PM
Salo is still shitty and I have a hard time understanding how anyone could find any artistic merit in this piece of trash. I put it up there with films like Cannibal Holocaust and the Guinea Pig movies.

That's all.
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WorldForgot

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Reply #20 on: September 01, 2019, 02:27:13 PM
Quote
Pasolini turned to filmmaking during the era of initial cinematic exploration of “wildlife” far beyond the wildest dreams of reflection hitherto, by explorers like Bresson and Antonioni. The practitioners of this art have, since then, been numerous and varied. But the distinguishing quality of such projects as The Great Beauty has remained, through the decades of our contemporary era, a close assimilation of the complex nuances of dynamics (a dilemmatic subject wonderfully apt for disclosure in movies). More specifically, the sophistication of the incisiveness at issue pertains to sensual/physical energies entailing the mobilization of that disinterestedness having exposed itself to such a wallop of death-dealing spaciousness as to render action going forward to be aptly self-effacing.


An engrossing essay/review on Arabian Nights that compares its zoological uncanny to Breaking Bad and The Great Beauty.
The film's narrative is summarized at length but the insights to Pasolini's mechanics illuminate especially when the film's juxtaposition is at hand. Moral and sensual sublimation ebbing on and off market economy desire within Arabian Nights' mirror-structure -- its transgressions represented as ripple & shimmer, both.