SORRENTO. IN PASOLINI’S FOOTPRINTS – THE INSTITUTE’S CULTURE CONFERENCE TASSO

Saturday, May 7, 2022 at 17.00 in the Pegaso room at the Conca Park Hotel in Sorrento there will be a conference AT PASOLINI FOS FOOTPRINTS with Salvatore Iorio, Mario Roviniello, Paolo Speranza.

The conference convened as part of the endless cycle of the Istituto di Cultura Tasso, led by Luciano Russo, wants to celebrate 100 years from Pasolini’s birth, whose connection to Sorrento is given by Decameron, where some episodes are shot on the peninsula.

In the volume of Antonino De Angelis Sorrento Movies we read:

Even Pier Paolo Pasolini turned in an episode of Decameron (1971) a fragrant and fresh orange grove into the scene of a cruel and heinous crime. Lorenzo’s desperate race chased by the brothers of his beloved Lisabetta armed with knives ends in silence, also here made hostile and hostile, in the Sorrento countryside.

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from volume Cinema History From the origins of the new cinemas by AA: VV, we read:

The neorealist impulse also found a development in the form of radical modernism in Pier Paolo Pasolini’s work. Unorthodox Marxist, homosexual, non-believer, but imbued with Catholicism, Pasolini created fame in Italian culture by going to the cinema after already gaining popularity as a poet and novelist and having collaborated on several manuscripts, and especially that of “The Nights” . of Cabiria ”by Fellini. “Accattone” (1961) and “Mamma Roma” (1962), an analysis of urban poverty, were hailed as a return to neorealism, but the way Pasolini describes the environment seems more to blame for Buñuel’s “Children of Violence” , and not only for the scenes of wild violence, but for the disturbing oneirism. Pasolini’s first film offers a tangle of diverse atmospheres and images: in compositions reminiscent of Renaissance paintings, the characters utter vulgar words; scenes recorded on the street as cinéma-vérité are commented on by Bach’s music. Pasolini explained these stylistic juxtapositions with the thesis that peasants and the lower levels of the urban working class maintained connections with pre-industrial mythology, which he intended to evoke with his quotations of the great works of art of the past. The tactics of stylistic “pollution” were perhaps less difficult to digest in “The Gospel According to Matthew” (1964). The biblical subject was presented with greater realism than the epic films of Hollywood or Cinecittà: Pasolini makes Jesus a preacher of wild and often impatient energy and dwells on the twisted features, wrinkled skin and broken teeth of his characters. However, “The Gospel of Matthew” is not just a neorealistic version of the Bible: the styles are mixed, with Bach and Prokof’ev competing in the soundtrack with the African Missa Luba; faces from Renaissance paintings are taken up with sharp zoom; the trial of Jesus in front of Pilate is filmed with the love machine among a crowd of spectators, as if a news journalist had not been able to get any closer. If Pasolini, an experimental writer who became a filmmaker, remembers Robbe-Grillet somehow, Bernardo Bertolucci is the Italian equivalent of the directors of Nouvelle Vague. At the age of nineteen, he was Pasolini’s assistant director in “Accattone”, and Pasolini himself signed on to the subject of his first film, “La commare Secca” (1962).

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Minor blame for the surrealism in the use of the fantastic was Pier Paolo Pasolini. “Uccellacci e uccellini” (1965) is the first example of his interest in political parables. In later works belonging to this spirit, Pasolini became even more sarcastic and provocative. “Porcile” tells, by means of parallel editing, two stories whose protagonists are armed with perverted appetites: the one who has become cannibal, is condemned and fed to the animals; the other, a young offspring of an industrial magnate, unleashes his identity crisis by mating with pigs, ending up being crushed. In these films, Pasolini shows a technical rigor reminiscent of Buñuel and serves as a counterpoint to the absurd and grotesque spectacle of a society in disintegration.

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By readjusting classical myths and contemporary history, Pasolini was able to achieve a critique of a political nature. In “Medea” (1969), the protagonist embodies the conflict between colonizers and the dominated population. Pasolini’s latest film, “Salò or Sodom’s 120 Days” (1975), stages the last days of Italian fascism as a show inspired by the Marquis de Sade.

Generic May 2022

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