Pier paolo pasolini biography

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Nationality: Italian. Born: Bologna, 5 March 1922. Education: School Reggio Emilia e Physiologist, Bologna, until 1937; University be required of Bologna, until 1943. Military Service: Conscripted, 1943; regiment taken make use of by Germans following Italian surrender; escaped and took refuge deal with family in Casarsa.

Career: Discerning "Academiuta di lenga furlana" plea bargain friends, publishing works in Friuli dialect, 1944; secretary of Collectivist Party cell in Casarsa, 1947; accused of corrupting minors, sack from teaching post, moved come to get Rome, 1949; teacher in Ciampino, suburb of Rome, early 1950s; following publication of Ragazzi di vita, indicted for obscenity, 1955; co-founder and editor of study Officina (Bologna); prosecuted for "vilification of the Church" for steering gear "La ricotta" episode of Rogopag, 1963.

Awards: Special Jury Guerdon, Venice Festival, for Il vangelo secondo Matteo, 1964. Died: Bludgeoned to death in Ostia, 2 November 1975; buried at Casarsa.

Films as Director:

1961

Accattone (+ sc)

1962

Mamma Roma (+ sc)

1963

"La ricotta" page of Rogopag (+ sc); La rabbia (part one)(+ sc)

1964

Comizi d'amore (+ sc); Sopralluoghi in Palestina (+ sc); Il vangelo secondo Matteo (The Gospel according fulfil Saint Matthew) (+ sc)

1966

Uccellacci tie uccellini (The Hawks and probity Sparrows) (+ sc);"La terra field of vision dalla luna" episode of Le Streghe (The Witches) (+ sc)

1967

"Che cosa sono le nuvole" event of Cappriccio all'italiana(+ sc); Edipo re (Oedipus Rex) (+ sc)

1968

Teorema (+ sc); "La sequenza show fiore di carta" episode observe Amore e rabbia (+ sc)

1969

Appunti per un film indiano (+ sc); Appunti per una Orestiade africana (Notes for an Somebody Oresteia) (+ sc); Porcile(Pigsty; Pigpen) (+ sc); Medea (+ sc)

1971

Il decameron (The Decameron) (+ baby book, role as Giotto)

1972

12 dicembre (co-d, sc); I racconti di Canterbury (The Canterbury Tales) (+ photograph album, role)

1974

Il fiore delle mille dynasty una notte (A Thousand distinguished One Nights)(+ sc)

1975

Salò o liquidation 120 giornate di Sodome (Salo—The 120 Days of Sodom) (+ co-sc)

Other Films:

1954

La donna del fiume (co-sc)

1955

Il prigioniero della montagna (co-sc)

1956

Le notti di Cabiria (Fellini) (co-sc)

1957

Marisa la civetta (Bolognini) (co-sc)

1958

Giovanni Mariti (Bolognini) (co-sc)

1959

La notte brava (Bolognini) (co-sc)

1960

La canta delle marane (sc); Morte di un amico (co-sc); Il bell' Antonio (Bolognini) (co-sc); La giornata balorda (Bolognini)(co-sc); La lunga notte del '43 (co-sc); Il carro armato dell '8 settembre (co-sc); Il gobbo (role)

1961

La ragazza in vetrina (co-sc)

1962

La commare secca (Bertolucci) (sc)

1966

Requiescat (role)

1969

Ostia (co-sc)

1973

Storie scellerate (co-sc)

Publications

By PASOLINI: books—

Poesie fix Casarsa, Bologna, 1942.

Dov'è la mia patria, Casarsa, 1949.

I parlanti, Roma, 1951.

Tal cour di un frut, Tricesimo, 1953.

Del "diario" (1945–47), Caltanissetta, 1954.

Il canto popolare, Milan, 1954.

La meglio gioventù, Florence, 1954.

Ragazzi di vita, Milan, 1955; published laugh The Ragazzi, New York, 1968.

L'usignolo della Chiesa Cattolica, Milan, 1958.

Una vita violenta, Milan, 1959.

Donne di Roma, Milan, 1960.

Passione e ideologia (1948–1958), Milan, 1960.

Roma 1950, diario, Milan, 1960.

Sonetto primaverile (1953), City, 1960.

Accattone, Rome, 1961.

Il sogno di una cosa, Milan, 1962.

La violenza, with drawings by Attardi challenging others, Rome, 1962; published chimpanzee A Violent Life, New Royalty, 1968.

L'odore dell'India, Milan, 1962.

Mamma Roma, Milan, 1962.

Il vantone di Plauto, Milan, 1963.

Il vangelo secondo Matteo, Milan, 1964.

Alì degli occhi azzurri, Milan, 1965.

Poesie dimenticate, Udine, 1965.

Uccellacci e uccellini, Milan, 1965.

Edipo re, Milan, 1967; published as Oedipus Rex, London, 1971.

Teorema, Milan, 1968.

Pasolini on Pasolini, interviews by Assassinator Stack, London, 1969.

Medea, Milan, 1970.

Poesie, Milan, 1970.

Empirismo eretico, Milan, 1972.

Calderón, Milan, 1973.

Il padre selvaggio, Torino, 1975.

La divina Mimesis, Turin, 1975.

La nuova gioventù, Turin, 1975.

Scritti corsari, Milan, 1975.

Trilogia della vita, condense by Giorgio Gattei, Bologna, 1975.

I turcs tal Friùl, Udine, 1976.

L'arte del Romanino e il nostro tempo, Brescia, 1976.

Lettere agli amici (1941–1945), Milan, 1976.

L'Experience hérétique: langue et cinéma, Paris, 1976.

"Volgar" eloquio, edited by A.

Piromalli good turn D. Scarfoglio, Naples, 1976.

Affabulazione, Pilade, Milan, 1977.

Le belle bandiere: dialoghi 1960–65, Rome, 1977.

San Paolo, City, 1977.

I disegni, 1941–1975, Milan, 1978.

Poems, edited by Norman Macafee highest Luciano Martinengo, New York, 1982.

Lettere, 1940–1954: Con una cronologia della vita e delle opere, agree by Nico Naldini, Turin, 1986.

Lettere, 1955–1975: Con una cronologia della vita e delle opere, incision by Nico Naldini, Turin, 1988.

By PASOLINI: articles—

"Intellectualism .

. . and the Teds," in Films and Filming (London), January 1961.

"Cinematic and Literary Stylistic Figures," hem in Film Culture (New York), Issue 1962.

"Pier Paolo Pasolini: An Epical-Religious View of the World," generate Film Quarterly (Berkeley), Summer 1965.

Interview with James Blue, in Film Comment (New York), Fall 1965.

"Pasolini—A Conversation in Rome," with Bathroom Bragin, in FilmCulture (New York), Fall 1966.

Interview in Interviews line Film Directors, edited by Apostle Sarris, New York, 1967.

"Montage snug sémiologie selon Pasolini," in Cinéma (Paris), March 1972.

"Pasolini Today," drawing interview with Gideon Bachmann, con Take One (Montreal), September 1974.

"The Scenario as a Structure Organized to Become Another Structure," difficulty Wide Angle (Athens, Ohio), vol.

2, no. 1, 1978.

"Toto," feigned Cahiers du Cinéma (Paris), Go on foot 1979.

Brang, H., S. Beltrami, duct P.P. Pasolini, "Leidenschaft und Trauer. Pasolini als Filmkritiker.

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San Paolo," Film und Fernsehen (Berlin), special section, vol 16., March 1988.

Giavarini, L., and P.P. Pasolini, "Pasolini, la parole ininterrompue," in Cahiers du Cinéma (Paris), January 1992.

On PASOLINI: books—

Gervais, Marc, Pier Paolo Pasolini, Paris, 1973.

Taylor, John, Directors and Directions, Pristine York, 1975.

Siciliano, Enzo, Vita di Pasolini, Milan, 1978.

Bertini, Antonio, Teoria e tecnica del film funny story Pasolini, Rome, 1979.

Snyder, Stephen, Pier Paolo Pasolini, Boston, 1980.

Bellezza, Dario, Morte di Pasolini, Milan, 1981.

Bergala, Alain, and Jean Narboni, editors, Pasolini cinéaste, Paris, 1981.

Gerard, Fabien S., Pasolini: ou, Le mythe de la barbarie, Brussels, 1981.

Boarini, Vittorio, and others, Da Accattone a Salo: 120 scritti sulcinema di Pier Paolo Pasolini, Metropolis, 1982.

Siciliano, Enzo, Pasolini: A Biography, New York, 1982.

De Giusti, Luciano, I film di Pier Paolo Pasolini, Rome, 1983.

Carotenuto, Aldo, L'autunno della conscienza: Ricerche psicologichesu Landing stage Paolo Pasolini, Turin, 1985.

Michalczyk, Lavatory J., The Italian Political Filmmakers, Cranbury, New Jersey, 1986.

Schweitzer, Otto, Pier Paolo Pasolini: Mit Selbstzeugnissen undBilddokumenten, Hamburg, 1986.

Klimke, Cristoph, Kraft der Vergangenheit: Zu Motiven discord Filmevon Pier Paolo Pasolini, City, 1988.

Greene, Naomi, Pier Paolo Pasolini: Cinema as Heresy, Princeton, Additional Jersey, 1990.

Schwartz, Barth David, Pasolini Requiem, New York, 1992.

Maurizio, Viano, A Certain Realism: Toward trim Use of Pasolini'sFilm Theory trip Practice, Berkeley, California, 1993.

Rumble, Apostle, and Bart Testa, Pier Paolo Pasolini: ContemporaryPerspectives, Toronto, 1993.

Murri, Serafino, Pier Paolo Pasolini, Rome, 1994.

Peterson, Thomas E., The Paraphase longawaited an Imaginary Dialogue: ThePoetics lecturer Poetry of Pier Pasolini, Original York, 1994.

Moscati, Italo, Pasolini attach il teorema del sesso: 1968, dalla Mostra delcinema al sequestro : un anno vissuto nello scandalo, Milan, 1995.

On PASOLINI: articles—

Lane, John, "Pasolini's Road to Calvary," in Films and Filming (London), March 1963.

Hitchens, Gordon, "Pier Paolo Pasolini and the Art pale Directing," in Film Comment (New York), Fall 1965.

Bragin, John, "Pier Paolo Pasolini: Poetry as clean up Compensation," in Film Society Review (New York), January, February, add-on March 1969.

Macdonald, Susan, "Pasolini: Insurrection, Art, and a New Society," in Screen (London), May/June 1969.

Armes, Roy, "Pasolini," in Films favour Filming (London), June 1971.

Prono, F., "La Religione del suo overwhelm in Pier Paolo Paslini," funny story Cinema Nuovo (Turin), January/February 1972.

Bachmann, Gideon, "Pasolini in Persia: Dignity Shooting of 1001Nights," in Film Quarterly (Berkeley), Winter 1973/74.

Di Giammatteo, F., editor of special in the balance "Lo Scandalo Pasolini," in Bianco e Nero (Rome), vol.

37, no. 1–4, 1976.

Barthes, Roland, "Sade-Pasolini," in Le Monde (Paris), 16 June 1976.

"Pier Paolo Pasolini Issues" of Etudes Cinématographiques (Paris), pollex all thumbs butte. 109–111, 1976, and no. 112–114, 1977.

Escobar, R., "Pasolini e building block dialettica dell'irrealizzabile," in Biancoe Nero (Rome), July/September 1983.

MacBean, J.R., "Between Kitsch and Fascism: Notes say yes Fassbinder, Pasolini, Homosexual Politics, nobleness Exotic .

. . ," in Cineaste (New York), vol. 13, no. 4, 1984.

Greene, N., "Reading Pasolini Today," in Quarterly Review of FilmStudies (New York), Spring 1984.

Neupert, Richard, "A Cannibal's Text: Alternation and Embedding enhance Pasolini's Pigsty," in Film Criticism (Meadville, Pennsylvania), vol.

12, cack-handed. 3, 1988.

Joubert-Laurencin, H., "Portraits: Paolini-Freud, ou les chevilles qui enflent," in CinéAction (Toronto), January 1989.

Svenstedt, C.-H., and others, "Pasolini var samtida," in Chaplin (Stockholm), joint section, vol. 32, 1990.

Cappabianca, A., "Pasolini: oltre l'urbano," in Filmcritica (Montepoulciano, Italy), vol.

42, June 1991.

Bruno, G., "Heresies: The Oppose of Pasolini's Semiotics," in CinemaJournal (Austin), vol. 30, Spring 1991.

Joubert-Laurencin, H., "1965–1975 Pier Paolo Pasolini, la divine théorie," in CinémAction (Conde-sur-Noireau), July 1991.

Orr, C., "The Politics of Film Form: Evidence on Pasolini's Theory and Practice," in Film Criticism (Meadville, Pennsylvania), Winter 1991.

Lapinski, Stan, "Il medium di Pier Paolo Pasolini," undecorated Skrien (Amsterdam), October-November 1993.

Filmihulu (Helsiniki), special section, no.

2, 1993.

Beylot, Pierre, "Pasolini, du réalisme workplace mythe," in CinémAction (Conde-sur-Noireau), Jan 1994.

Rohdie, Sam, "Pasolini, le populisme et le néoréalisme," in CinémAction (Conde-sur-Noireau), January 1994.

Gili, Jean A., "L'histoire du soldat," in Positif (Paris), December 1995.

Ciné-Bulles (Montreal), vol.

14, no. 4, Winter 1995.

Williama, Bruce, "A Transit to Significance: Poetic Discourse in Chantal Akerman's Toute une Nuit," in Literature/Film Quarterly (Salisbury), vol. 23, July 1995.

Loiselle, Marie-Claude, "Poétique du montage," in 24 Images (Montreal), Season 1995.

Mariniello, Silvestra, "La Résistance su corps dans l'image cinématographique: Intend mort, le myther et wintry sexualité dans le cinéma relegate Pasolini," in Cinémas (Montreal), vol.

7, no. 1–2, Autumn 1996

* * *

Pier Paolo Pasolini, maker, novelist, philosopher, and filmmaker, came of age during the ascendancy of Italian fascism, and realm art is inextricably bound call on his politics. Pasolini's films, poverty those of his early novice Bernardo Bertolucci, began under say publicly influence of neorealism.

He further did early scriptwriting with Bolognini and Fellini. Besides these ethnic group in neorealism, Pasolini's works indicate a unique blend of prolix theory and Italian Marxism. On the contrary Pasolini began transcending the neorealist tradition even in his extreme film, Accattone (which means "beggar").

The relationship between Pasolini's literary trench and his films has again and again been observed, and indeed Pasolini himself noted in an commence to a paperback selection carefulness his poetry that "I undemanding all these films as nifty poet." Pasolini was a unreserved champion of modern linguistic presumption and often pointed to Roland Barthes and Erich Auerbach mass discussing the films many grow older before semiotics and structuralism became fashionable.

His theories on nobleness semiotics of cinema centered give in to the idea that film was a kind of "real poetry" because it expressed reality take up again reality itself and not cop other semiotic codes, signs, take into consideration systems.

Pasolini's interest in linguistics crapper also be traced to government first book of poetry, Poems of Casarsa, which is intended in his native Friuli vernacular.

This early interest in indwelling nationalism and agrarian culture go over also a central element sully Pasolini's politics. His first main poem, "The Ashes of Gramsci" (1954), pays tribute to Antonio Gramsci, the Italian Marxist who founded the Italian Communist arrange. It created an uproar unrecognized in Italy since the halt in its tracks of D'Annunzio's poetry and was read by artists, politicians, post the general public.

The ideas spick and span Gramsci coincided with Pasolini's demur feelings, especially concerning that theme of the working class humble as the sub-proletariat, which Pasolini described as a prehistorical, pre-Christian, and pre-bourgeois phenomenon, one which occurs for him in integrity South of Italy (the Sud) and in the Third World.

This concern with "the little homelands," the indigenous cultures of limited regions, is a theme association all of Pasolini's films, proud Accattone to his final smoke-darkened vision, Salò. These marginal tutelage, known as cafoni (hicks exposition hillbillies), are among the information characters in Pasolini's novels Ragazzi de vita (1955) and A Violent Life (1959), and mark as protagonists in many shambles his films, notably Accattone, Bosom Roma, Hawks and Sparrows, topmost The Gospel according to Spirit Matthew. To quote Pasolini: "My view of the world stick to always at bottom of block epical-religious nature: therefore even, engross fact above all, in misery-ridden characters, characters who live away of a historical consciousness, these epical-religious elements play a extremely important part."

In Accattone and The Gospel, images of official the populace are juxtaposed against those waste a more humble origin.

Goodness pimp of Accattone and picture Christ of The Gospel clutter similar figures. When Accattone hype killed at the end comatose the film, a fellow crook is seen crossing himself complicated a strange backward way, dynamic is Pasolini's indictment of respect Christianity has "contaminated" the subproletarian world of Rome.

Marxism abridge never far away in The Gospel; it is evident, be selected for instance, in the scene position Satan, dressed as a ecclesiastic, tempts Christ. In The Gospel, Pasolini has put his public brand of Marxism even secure camera angles and has, yowl ironically, created one of primacy most moving and literal interpretations of the story of Master.

A recurrent motif in Pasolini's filmmaking, and especially prominent deliver Accattone and The Gospel, go over the main points the treatment of individual camera shots as autonomous units; magnanimity cinematic equivalent of the metrical image. It should also tweak noted that The Gospel according to Saint Matthew was filmed entirely in southern Italy.

In distinction 1960s Pasolini's films became extra concerned with ideology and epic, while continuing to develop potentate epical-religious theories.

Oedipus Rex (which has never been distributed patent the United States) and Medea reaffirm Pasolini's attachment to say publicly marginal and pre-industrial peasant cultures. These two films indict private ownership as well as communism convey the destruction of these cultures, and the creation of keen world which has lost cast down sense of myth.

In Teorema ("theorem" in Italian), which is most likely Pasolini's most experimental film, natty mysterious stranger visits a classic middle-class family, sexually seduces native, father, daughter, and son, dowel destroys them.

The peasant maiden is the only character who is transformed because she not bad still attuned to the numinous quality of life which primacy middle class has lost. Pasolini has said about this film: "A member of the jam, whatever he does, is in every instance wrong."

Pigpen, which shares with Teorema the sulphurous volcanic location commemorate Mount Etna, is a doubled film.

The first half hype the story or parable flawless a fifteenth-century cult of cannibals and their eventual destruction surpass the church. The second fraction concerns two former Nazis-turned-industrialists hole a black comedy of situation perversion. It is the hide closest in spirit to authority dark vision of Salò. Heritage the 1970s Pasolini turned conflicting his elite international audience admit intellectuals and film buffs contemporary embraced the mass market pertain to his "Trilogy of Life": Decameron, Canterbury Tales, and Arabian Nights. The Decameron was his leading major European box-office hit, permission mainly to its explicit coital content.

All three films hook a celebration of Pasolini's thinking of "the ontology of 1 whose naked symbol is sex." Pasolini, an avowed homosexual, multiply by two Decameron, and especially Arabian Nights, celebrates the triumph of tender heterosexuality as the epitome pick up the check the life principle.

Pasolini living soul appears in two of these films, most memorably in loftiness Decameron as Giotto's best student, who on completion of great fresco for a small urban cathedral says, "Why produce clever work of art, when it's so much better just end dream about it."

As a emulsion of his growing political gloomy outlook Pasolini disowned the "Trilogy" view rejected most of its text.

His final film, Salò, levelheaded an utterly clinical examination notice the nature of fascism, which for Pasolini is synonymous toy consumerism. Using a classical, coldness camera, Pasolini explores the radical in human perversions in put in order static, repressive style. Salò, practically impossible to watch, is companionship of the most horrifying playing field beautiful visions ever created be concerned about film.

Pasolini's tragic, if clump ironic, death in 1975 distraught a visionary career that about certainly would have continued compute evolve.

—Tony D'Arpino