"Squarci di notti romane": Pasolini's Early Authorial Confessions

Syrimis, Michael

doi:10.1353/rmc.2012.0009

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“…If the narrative aspires, in a somewhat neorealist vein, to portray this class objectively, Pasolini also exhibits his role as its aesthetic inventor. The multiple names ascribed to the protagonist -Autore, Pygmalion, Villon, Je, Lautre´amont, Proust, and others -are Pasolini's alter egos and trumpet the act of literary creation (Syrimis, 2012). We also recall the use of fast-motion in Pasolini's Decameron (1971), showing Pasolini himself in the role of Giotto's pupil, hired to fresco the interiors of Santa Chiara in Naples.…”

Section: La Ricotta: the Great Auteur And The Sprightly Extramentioning

confidence: 91%

Self-parody in Pasolini’s La ricotta and Appunti per un’Orestiade africana

Syrimis

2013

Forum Italicum: A Journal of Italian Studies

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This article explores the practice of self-parody in Pier Paolo Pasolini’s films La ricotta (1963) and Appunti per un’Orestiade africana (1970). A rarely addressed aspect of Pasolini’s work, self-parody challenges the reverential view of Pasolini as one of Italy’s most influential artists. It refers not merely to self-mockery but to the filmmaker’s wish to perplex the viewer by proposing competing ideological standpoints. The viewer is encouraged to distrust Pasolini’s discourse but also to re-examine his/her own ideological investment in the work and engage in a process of self-reflection. In La ricotta, Orson Welles’s role as a film director who is making a film about Christ’s Passion provides a caricature of Pasolini’s auteur status. Appunti is a documentary-like film on Africa the aestheticism of which Pasolini subjects to criticism through the interplay of diverse formal elements. As two films that deviate from the feature-length narrative structure that predominates in Pasolini’s cinema, La ricotta and Appunti allow the filmmaker the flexibility to experiment with specific elements of film form – parallel editing, color or black and white, standard speed or fast-motion, staged or documentary footage, and a rupture between sound and image – toward the articulation of his competing voices.

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Section: La Ricotta: the Great Auteur And The Sprightly Extramentioning

confidence: 91%