Pier Paolo Pasolini
Pier Paolo Pasolini | |
---|---|
Born | Bologna, Italy | 5 March 1922
Died | 2 November 1975 Ostia, Italy | (aged 53)
Occupation |
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Alma mater | University of Bologna |
Signature | |
Pier Paolo Pasolini (Italian:
A controversial personality due to his straightforward style, Pasolini's legacy remains contentious. Openly
Pasolini's unsolved and extremely brutal abduction, torture, and murder at Ostia in November 1975 prompted an outcry in Italy, where it continues to be a matter of heated debate. Recent leads by Italian cold case investigators suggest a contract killing by the Banda della Magliana, a criminal organisation with close links to far-right terrorism, as the most likely cause.[7]
Biography
Early life
Pier Paolo Pasolini was born in
Pasolini began writing poems at age seven, inspired by the natural beauty of Casarsa. One of his early influences was the work of
In 1939, Pasolini graduated and entered the Literature College of the
In the waning years of World War II, Pasolini was drafted into the Italian Army.[14] After his regiment was captured by the Germans following Italy's surrender, he escaped and fled to the small town of Casarsa where he remained for several years.[14]
Early poetry
In 1942, Pasolini published at his own expense a collection of poems in Friulan, Poesie a Casarsa, which he had written at the age of eighteen. The work was noted and appreciated by such intellectuals and critics as
Pasolini's family took shelter in Casarsa, considered a more tranquil place to wait for the conclusion of the
Pasolini tried to distance himself from these events. Starting in October 1943, Pasolini, his mother and other colleagues taught students unable to reach the schools in Pordenone or Udine. This educational workshop was considered illegal and broke up in February 1944.[15] It was here that Pasolini had his first experience of homosexual attraction to one of his students.[citation needed] His brother Guido, aged 19, joined the Party of Action and their Brigate Osoppo, taking to the bush near Slovenia. On 12 February 1945, Guido was killed in an ambush planted by the Brigate Garibaldi serving in the lines of Josip Broz Tito's Yugoslavian guerrillas. This devastated Pasolini and his mother.[16]
Six days after his brother's death, Pasolini and others founded the Friulan Language Academy (Academiuta di lenga furlana). Meanwhile, on account of Guido's death, Pasolini's father returned to Italy from his detention period in November 1945, settling in Casarsa. That same month, Pasolini graduated from university after completing a final thesis about the work of Giovanni Pascoli (1855–1912), an Italian poet and classical scholar.[17]
In 1946, Pasolini published a small poetry collection, I Diarii ("The Diaries"), with the Academiuta. In October he traveled to Rome. The following May he began the so-called Quaderni Rossi, handwritten in old school exercise books with red covers. He completed a drama in Italian, Il Cappellano. His poetry collection, I Pianti ("The cries"), was also published by the Academiuta.
Rome
In January 1950, Pasolini moved to Rome with his mother Susanna to start a new life. He was acquitted of two indecency charges in 1950 and 1952.
Pasolini found a job working in the Cinecittà film studios and sold his books in the bancarelle ("sidewalk shops") of Rome. In 1951, with the help of the Abruzzese-language poet Vittorio Clemente, he found a job as a secondary school teacher in Ciampino, just outside the capital. He had a long commute involving two train changes and earned a meagre salary of 27,000 lire.
Career
This section needs additional citations for verification. (November 2021) |
Writing
In 1954, Pasolini, who now worked for the literary section of Cinecittà, left his teaching job and moved to the Monteverde quarter. At this point, his cousin Graziella moved in. They also accommodated Pasolini's ailing, cirrhotic father Carlo Alberto, who died in 1958. Pasolini published La meglio gioventù, his first important collection of Friulan poems. His first novel,
In 1955, together with Francesco Leonetti, Roberto Roversi and others, Pasolini edited and published a poetry magazine called Officina. The magazine closed in 1959 after fourteen issues. That year he also published his second novel, Una vita violenta, which unlike his first was embraced by the Communist cultural sphere: he subsequently wrote a column titled Dialoghi con Passolini (meaning Passolini in Dialogue), for the PCI magazine Vie Nuove from May 1960 to September 1965,[20] which were published in book form in 1977 as Le belle bandiere (The Beautiful Flags).[21] In the late 1960s Pasolini edited an advice column in the weekly news magazine Tempo.[22]
In 1966, Pasolini wrote a screenplay for a never-produced film about the apostle
In 1970, Pasolini bought an old castle near
Narrative
- Ragazzi di vita (The Ragazzi, 1955)
- Una vita violenta (A Violent Life, 1959)
- Il sogno di una cosa (1962)
- Amado Mio—Atti Impuri (1982, originally written in 1948)
- Alì dagli occhi azzurri (1965)
- Teorema (1968)
- Reality (The Poets' Encyclopedia, 1979)
- Petrolio (1992, incomplete)
Poetry
- La meglio gioventù (1954)
- Le ceneri di Gramsci (1957)
- L'usignolo della chiesa cattolica (1958)
- La religione del mio tempo (1961)
- Poesia in forma di rosa (1964)
- Trasumanar e organizzar (1971)
- La nuova gioventù (1975)
- Roman Poems. Pocket Poets No. 41 (1986)
- The Selected Poetry of Pier Paolo Pasolini: A Bilingual Edition. (2014)
Essays
- Passione e ideologia (1960)
- Canzoniere italiano, poesia popolare italiana (1960)
- Empirismo eretico (1972)
- Lettere luterane (1976)
- Le belle bandiere (1977)
- Descrizioni di descrizioni (1979)
- Il caos (1979)
- La pornografia è noiosa (1979)
- Scritti corsari (1975)
- Lettere (1940–1954) (Letters, 1940–54, 1986)
Theatre
- Orgia (1968)
- Porcile (1968)
- Calderón (1973)
- Affabulazione (1977)
- Pilade (1977)
- Bestia da stile (1977)
Films
In 1957, together with
Pasolini's first film as director and screenwriter was
During this period, Pasolini frequently travelled abroad: in 1961, with
The late 1960s and early 1970s were the era of the
He wrote and directed the black-and-white
Later films centred on sex-laden folklore, such as
His final work,
- Note: All titles listed below were written and directed by Pasolini, unless stated otherwise.
Year | Title | Adapted from | Notes | |
---|---|---|---|---|
Original | In English | |||
1961 | Accattone | Accattone | Pasolini's novel Una vita violenta. | Screenplay written in collaboration with Sergio Citti. |
1962 | Mamma Roma | Mamma Roma | Screenplay by Pasolini with additional dialogue by Citti. | |
1964 | Il vangelo secondo Matteo | The Gospel According to St. Matthew | The Gospel of Matthew. | Won the Silver Lion at the 25th Venice International Film Festival, United Nations Award at the 21st British Academy Film Awards. |
1966 | Uccellacci e uccellini | The Hawks and the Sparrows | ||
1967 | Edipo re | Oedipus Rex | Oedipus Rex by Sophocles. | Acted in the film as High Priest |
1968 | Teorema | Theorem[a] | Pasolini's novel Teorema was also published in 1968. | |
1969 | Porcile | Pigsty | ||
1969 | Medea | Medea | Medea by Euripides. | |
1971 | Il Decameron | The Decameron | The Decameron by Giovanni Boccaccio. | Won the Silver Bear at the 21st Berlin International Film Festival.[5]
|
1972 | I racconti di Canterbury | The Canterbury Tales | The Canterbury Tales by Geoffrey Chaucer. | Won the Golden Bear at the 22nd Berlin International Film Festival.[36] Acted in the film as Allievo di Giotto. |
1974 | Il fiore delle Mille e una Notte | A Thousand and One Nights (Arabian Nights) | One Thousand and One Nights | Screenplay written in collaboration with Dacia Maraini.
Won the Grand Prix Spécial Prize at the 1974 Cannes Film Festival.[37] Acted in the film as Chaucer. |
1975 | Salò o le 120 giornate di Sodoma | Salo, or the 120 Days of Sodom | Les 120 journées de Sodome ou l'école du libertinage by the Marquis de Sade .
|
Screenplay written in collaboration with Citti with extended quotes from Roland Barthes' Sade, Fourier, Loyola and Pierre Klossowski's Sade mon prochain. |
Episodes in omnibus films
- RoGoPaG(1963)
- First segment of La rabbia (1963)
- "La Terra vista dalla Luna" in Le streghe(1967)
- "Che cosa sono le nuvole?" in Capriccio all'Italiana(1968)
- "La sequenza del fiore di carta" in Amore e rabbia(1969)
Documentaries
- Sopralluoghi in Palestina per Il Vangelo secondo Matteo (1965)
- Appunti per un film sull'India (1968)
- Appunti per un romanzo dell'immondizia (1970)
- Appunti per un'Orestiade Africana(1970)
- Le mura di Sana'a (1971)
- 12 Dicembre 1972 (1972)
- Pasolini e la forma della città (1974)
Personal life
A small scandal broke out during a local festival in Ramuscello in September 1949. Someone informed Cordovado, the local sergeant of the carabinieri, of sexual conduct (masturbation) by Pasolini with three youngsters aged sixteen and younger after dancing and drinking.[40] Cordovado summoned the boys' parents, who refused to file charges despite Cordovado's urging. Cordovado nevertheless drew up a report, and the informer elaborated publicly on his accusations, sparking a public uproar. A judge in San Vito al Tagliamento charged Pasolini with "corruption of minors and obscene acts in public places".[40][18] He and the 16-year-old were both indicted.[41]
The next month, when questioned, Pasolini would not deny the facts, but talked of a "literary and erotic drive" and cited
In 1963, at the age of 41, Pasolini met "the great love of his life", 15-year-old
However, there were some important women in Pasolini's life, with whom Pasolini shared a feeling of profound and unique friendship, in particular Laura Betti and Maria Callas. Dacia Maraini, a famous Italian writer, said of Callas' behaviour towards Pasolini: "She used to follow him everywhere, even to Africa. She hoped to 'convert' him to heterosexuality and to marriage."[44] Pasolini was also sensible to the problematics related to the "new" role ascribed to women through the Italian media, stating in a 1972 interview that "women are not slot machines".[45]
He was a supporter of his hometown football club Bologna.[46]
Political views
Relationship with the Italian Communist Party
By October 1945, the political status of the
On 26 January 1947, Pasolini wrote a declaration that was published on the front page of the newspaper Libertà: "In our opinion, we think that currently only Communism is able to provide a new culture." It generated controversy, partly due to the fact he was still not a member of the PCI. Pasolini planned to extend the work of the Academiuta to the literature of other
Anti-fascism and 1968 protests
Pasolini generated heated public discussion with controversial analyses of public affairs. For instance, autonomist university students were carrying on a guerrilla-style uprising against the police in the streets of Rome during the disorders of 1968. For their supporters, the disorders were a civil fight of proletariat against the system. Pasolini made comments that have been interpreted that he was with the police or that he was a man of order, and that he was an anti-anti-fascist.[48] According to the Centro Studi Pier Paolo Pasolini, the myth of an "anti-anti-fascist" Pasolini served to propose of anti-globalist alliances by neo-fascists.[48] Anti-antifascismo was never used by Pasolini and was only added in later years as the title of the Scritti corsari collection.[48] Pasolini used the concept to attack various institutional subjects, such as Christian Democracy, the Italian president Giuseppe Saragat, RAI, and the Health Commission of the Chamber of Deputies, which were all guilty of ignoring some requests from Marco Pannella, who had been on hunger strike for over two months.[48] He excluded the PCI from those parties of the constitutional arc that, as declared by Pasolini in June 1975, tried to "rebuild an anti-fascist virginity ... but, at the same time, maintaining the impunity of the fascist gangs that they, if they wanted, would liquidate in a day."[48]
The main source regarding Pasolini's views of the student movement is his poem "Il PCI ai giovani" ("The PCI to Young People"), written after the Battle of Valle Giulia. Addressing the students, he tells them that, unlike the international news media which has been reporting on them, he will not flatter them. He points out that they are the children of the bourgeoisie ("Avete facce di figli di papà / Vi odio come odio i vostri papà" – "You have the faces of daddy's boys / I hate you like I hate your dads"), before stating "Quando ieri a Valle Giulia avete fatto a botte coi poliziotti / io simpatizzavo coi poliziotti" ("When you and the policemen were throwing punches yesterday at Valle Giulia / I was sympathising with the policemen"). He explained that this sympathy was because the policemen were "figli di poveri" ("children of the poor"). The poem highlights the aspect of generational struggle within the bourgeoisie represented by the student movement: "Stampa e Corriere della Sera, News- week e Monde / vi leccano il culo. Siete i loro figli / la loro speranza, il loro futuro... Se mai / si tratta di una lotta intestina" ("Stampa and Corriere della Sera, Newsweek and Le Monde / they kiss your arse. You are their children / their hope, their future... If anything / it's in-fighting").[49]
The 1968 revolt was seen by Pasolini as an internal, benign reform of the establishment in Italy, since the protesters were part of the petite bourgeoisie.[50] The poem also implied a class hypocrisy on the part of the establishment towards the protesters, asking whether young workers would be treated similarly if they behaved in the same way: "Occupate le università / ma dite che la stessa idea venga / a dei giovani operai / E allora: Corriere della Sera e Stampa, Newsweek e Monde / avranno tanta sollecitudine / nel cercar di comprendere i loro problemi? / La polizia si limiterà a prendere un po’ di botte / dentro una fabbrica occupata? / Ma, soprattutto, come potrebbe concedersi / un giovane operaio di occupare una fabbrica / senza morire di fame dopo tre giorni?" ("Occupy the universities / but say that the same idea comes / to young workers / So: Corriere della Sera and Stampa, Newsweek and Le Monde / will have so much care / in trying to understand their problems? / Will the police just get a bit of a fight / inside an occupied factory? / But above all, how could / a young worker be allowed to occupy a factory / without dying of hunger after three days?"[49]
Pasolini suggested that the police were the true proletariat, sent to fight for a poor salary and for reasons which they could not understand, against pampered boys of their same age, because they had not had the fortune of being able to study, referring to "poliziotti figli di proletari meridionali picchiati da figli di papà in vena di bravate" (lit. "policemen, sons of proletarian southerners, beaten up by arrogant daddy's boys"). He found that the policemen were but the outer layer of the real power, e.g. the judiciary.[51] Pasolini was not alien to courts and trials. During all his life, Pasolini was frequently entangled in up to 33 lawsuits filed against him, variously charged with "public disgrace", "foul language", "obscenity", "pornography", "contempt of religion", and "contempt of the state", for which he was always eventually acquitted.[52][53]
The conventional interpretation of Pasolini's position has been challenged.[48] In an article published in 2015, Wu Ming argued that Pasolini's statements need to be understood in the context of Pasolini's self-confessed hatred of the bourgeoisie which had persecuted him for so long, as "Il PCI ai giovani" states that "We (i.e. Pasolini and the students) are obviously in agreement against the police institution", and that the poem portrays policemen as dehumanised by their work. Although the battles between students and the police were fights between the rich and the poor, Pasolini concedes that the students were "on the side of reason" whilst the police were "in the wrong". Wu Ming suggested that Pasolini intended to express scepticism regarding the idea of students being a revolutionary force, contending that only the working class could make a revolution and that revolutionary students should join the PCI. Furthermore, he cites a column by Pasolini which was published in the magazine Tempo later that year, which described the student movement, along with the wartime resistance, as "the Italian people's only two democratic-revolutionary experiences". That year, he also wrote in support of the PCI's proposals for disarming the police, arguing that this would create a break in the psychology of policemen. He said: "It would lead to the sudden collapse of that 'false idea of himself' ascribed to him by Power, which has programmed him like a robot." Pasolini's polemics were aimed at goading protesters into re-thinking their revolt, and did not stop him from contributing to the autonomist Lotta Continua movement, who he described as "extremists, yes, maybe fanatic and insolently boorish from a cultural point of view, but they push their luck and that is precisely why I think they deserve to be supported. We must want too much to obtain a little."[54][55]
Rising society of consumption
Pasolini was particularly concerned about the class of the
Pasolini's stance finds its roots in the belief that a
"In his view, both old and new fascisms undermine the fundamentals of modern democracy. Yet new fascism does not do this by absolutizing popular sovereignty at the expense of individual rights. New fascism celebrates our freedoms and absolutizes human rights to the detriment of our sense of belonging to a social-political community. Therefore, old and new fascisms strive to accomplish democracy—which is the restless ambition of fascism—via opposite routes. In the former case, the result is the birth of political subjects such as the master race, supported by revelatory political grammar. In the latter case, the result is the birth of an altogether different subject, which is no longer a political actor, properly speaking, but a passive, anonymous entity: the human population."[59]
Strong criticism of Christian Democracy
Pasolini saw some continuity between the Fascist era and the post-war political system which was led by the Christian Democrats, describing the latter as "clerico-fascism" due to its use of the state as a repressive instrument and its manipulation of power: he saw the conditions among the Roman subproletariat in the borgate as an example of this, being marginalised and segregated socially and geographically as they were under Fascism, and in conflict with a criminal police force.[55] He also blamed the Christian Democrats for assimilating the values of consumer capitalism, contributing to what he saw as the erosion of human values.[60]
The
Television linked to cultural alienation
Pasolini was angered by economic globalization and cultural domination of the North of Italy (around Milan) over other regions, especially the South.[citation needed] He felt this was accomplished through the power of television. A debate TV programme recorded in 1971, where he denounced censorship, was not actually aired until the day following his murder in November 1975. In a PCI reform plan that he drew up in September and October 1975, among the desirable measures to be implemented, he cited the abolition of television.[61]
Others
Pasolini opposed the gradual disappearance of
After 1968, Pasolini engaged with the
Outside of Italy, Pasolini took a particular interest in the
Death
Pasolini was murdered on 2 November 1975 at a beach in
Giuseppe (Pino) Pelosi (1958–2017), then 17 years old, was caught driving Pasolini's car and confessed to the murder. He was convicted and sentenced to 9 years in prison in 1976,[7] initially with "unknown others", but this phrase was later removed from the verdict.[62][70] Twenty-nine years later, on 7 May 2005, Pelosi retracted his confession, which he said had been made under the threat of violence to his family. He claimed that three people "with a Southern accent" had committed the murder, while further insulting Pasolini as a "dirty communist".[71]
Other evidence uncovered in 2005 suggested that Pasolini had been murdered by an
Legacy
As a director, Pasolini created a
Pasolini's work often engendered disapproval perhaps primarily because of his frequent focus on sexual behaviour, and the contrast between what he presented and what was publicly sanctioned. While Pasolini's poetry often dealt with his gay love interests, this was not the only, or even main, theme. His interest in and use of Italian dialects should also be noted. Much of the poetry was about his highly revered mother. He depicted certain corners of the contemporary reality as few other poets could do. His poetry, which took some time before it was translated, was not as well known outside Italy as were his films. A collection in English was published in 1996.[77]
Pasolini also developed a philosophy of language mainly related to his studies on cinema.[78] This theoretical and critical activity was another hotly debated topic. His collected articles and responses are still available today.[76][79][80]
These studies can be considered as the foundation of his artistic point of view: he believed that the language—such as English, Italian, dialect or other—is a rigid system in which human thought is trapped. He also thought that the cinema is the "written" language of reality which, like any other written language, enables man to see things from the point of view of truth.[78]
His films won awards at the Berlin International Film Festival, Cannes Film Festival, Venice Film Festival, Italian National Syndicate for Film Journalists, Jussi Awards, Kinema Junpo Awards, International Catholic Film Office and New York Film Critics Circle. The Gospel According to St. Matthew was nominated for the United Nations Award of the British Academy of Film and Television Arts (BAFTA) in 1968.
Filmography
Year | Title | Writer | Director | Soundtrack | Role | Notes |
---|---|---|---|---|---|---|
1955 | The River Girl | Yes | No | No | — | |
1957 | Nights of Cabiria | Yes | No | No | — | |
1958 | Young Husbands | Yes | No | No | — | |
1959 | Bad Girls Don't Cry | Yes | No | No | — | |
1960 | Long Night in 1943 | Yes | No | No | — | |
The Hunchback of Rome | No | No | No | Monco | ||
La Dolce Vita
|
Yes | No | No | — | ||
Il bell'Antonio | Yes | No | No | — | ||
From a Roman Balcony | Yes | No | No | — | ||
1961 | Accattone | Yes | Yes | No | — | |
Girl in the Window | Yes | No | No | — | ||
1962 | Mamma Roma | Yes | Yes | No | — | |
1963 | Ro.Go.Pa.G. | Yes | Yes | No | — | Segment: "La ricotta" |
La rabbia | Yes | Yes | No | — | Documentary | |
1964 | The Gospel According to St. Matthew | Yes | Yes | No | — | |
1965 | Love Meetings | Yes | Yes | No | The Interviewer | Documentary |
Location Hunting in Palestine | Yes | Yes | No | Himself | Documentary | |
1966 | The Hawks and the Sparrows | Yes | Yes | Yes | — | |
1967 | Requiescant | Yes | No | No | Don Juan | |
The Witches | Yes | Yes | No | — | Segment: "La Terra vista dalla Luna" | |
Oedipus Rex | Yes | Yes | No | High Priest | ||
1968 | Teorema | Yes | Yes | No | — | |
Appunti per un film sull'India | Yes | Yes | No | Himself | Documentary | |
Caprice Italian Style | Yes | Yes | Yes | — | Segment: "Cosa sono le nuvole?" | |
1969 | Love and Anger | Yes | Yes | No | — | Segment: "La sequenza del fiore di carta" |
Pigsty | Yes | Yes | No | — | ||
Medea | Yes | Yes | No | — | ||
1970 | Ostia | Yes | No | No | — | |
Notes Towards an African Orestes | Yes | Yes | No | Narrator (voice) | Documentary | |
1971 | The Decameron
|
Yes | Yes | No | Giotto's Pupil | First in the Trilogy of Life. |
1972 | The Canterbury Tales | Yes | Yes | Yes | Chaucer | Second in the Trilogy of Life. |
1973 | Bawdy Tales | Yes | No | No | — | |
1974 | Arabian Nights | Yes | Yes | No | — | Third in the Trilogy of Life. |
1975 | Salò, or the 120 Days of Sodom | Yes | Yes | No | — | Released three weeks after his murder. |
In popular culture
Many documentaries and films have been released since the time of his murder, some of which include:
- Das Mitleid ist gestorben, a documentary directed by Ebbo Demant and released in 1978.
- Re: Pasolini, made by Stefano Battaglia in 2005, it was dedicated to Pasolini.
- Who Killed Pasolini?, directed by Marco Tullio Giordana in 1995. The film reconstructs the trial of Pino Pelosi, accused of Pasolini's murder.
- Pasolini, directed by Abel Ferrara. A 2014 biopic directed about Pasolini, with Willem Dafoe in the lead role. It was selected to compete for the Golden Lion at the 71st Venice International Film Festival.[81][82]
- PPPasolini, directed by Malga Kubiak, a drama movie based on the story of Pier Paolo Pasolini's life and death, released in 2015. The movie was screened at the seventh edition of the LGBT Film Festival in Warsaw, and received a People's Choice Award at the festival.[83]
- La macchinazione, directed by his former collaborator David Grieco, a 2016 biopic on the last hours of Pasolini's life starring Massimo Ranieri as Pasolini.[84]
See also
- Pasolini (film)
- La macchinazione
- List of unsolved murders
Notes
- ^ The translated English title is used infrequently.
References
- ^ "Il Dissenso di un Intellettuale: Pier Paolo Pasolini, a Cen". news-art.it (in Italian). Retrieved 17 August 2022.
- ^ Quarti, Matilde (18 November 2017). "La vita e i libri di Pier Paolo Pasolini, intellettuale corsaro". ilLibraio.it (in Italian). Retrieved 17 August 2022.
- ^ "Pier Paolo Pasolini, l'uomo, l'artista, l'intellettuale: un volume in digitale dell'Espresso". la Repubblica (in Italian). 15 November 2021. Retrieved 17 August 2022.
- ^ "Pasolini 100 anni intellettuale sempre più profetico - Libri - Approfondimenti". Agenzia ANSA (in Italian). 27 February 2022. Retrieved 17 August 2022.
- ^ a b "Berlinale 1972: Prize Winners". berlinale.de. Archived from the original on 4 May 2014. Retrieved 26 June 2011.
- ^ Pier Paolo Pasolini: Cultural Hegemony. Film Analysis Robin Cross. College Film & Media Studies. Retrieved 2 November 2021.
- ^ a b c d "Plea to reopen Pasolini murder file presented". ANSA. 3 March 2023.
- ^ Frank Northen Magill, Critical survey of poetry: foreign language series, Salem Press, 1984, p. 1145
- ISBN 978-84-943726-4-3.
- ^ Ste vedeli, da je Pier Paolo Pasolini v otroštvu nekaj časa živel v Idriji?: Prvi interaktivni multimedijski portal, MMC RTV Slovenija. Rtvslo.si (20 October 2012). Retrieved 22 May 2014.
- ^ Stack, O. (1969). Pasolini on Pasolini, pp. 15–17, London: Thames and Hudson.
- ^ Thompson, N.S. (1981), Pier Paolo Pasolini: Poet and Prophet, in Murray, Glen (ed.), Cencrastus No. 7, Winter 1981 - 82, pp. 30 - 32.
- ^ Guy Flatley, The Atheist who was Obsessed with God Archived 3 March 2016 at the Wayback Machine, 1969, located at Moviecrazed.com (accessed 25 April 2008).
- ^ a b Pier Paolo Pasolini, 1922–1975 Poetry Foundation. Retrieved May 9, 2024.
- ISBN 978-84-370-7928-8.
- ^ Martelini, L. 2006, p. 29
- ^ Martelini, L. 2006, p. 33
- ^ a b c Martelini, L. 2006, p. 48
- ^ Martelini, L. 2006, p. 62
- ISBN 978-0-19-815905-6.
- ^ a b c d e Peretti, Luca (1 June 2018). "Remembering Pier Paolo Pasolini". Jacobin. Retrieved 7 June 2018.
- ISBN 978-3-319-90963-9.
- ^ "Pasolini and St Paul". British Library. 15 June 2015. Retrieved 16 January 2023.
- OCLC 51093150.
- OCLC 51093150.
- OCLC 51093150.
- OCLC 51093150.
- ^ Martelini, L. 2006, p. 192
- ^ Monopoli, Leonardo. "Pasolini e il cinema". homolaicus.com (in Italian). Retrieved 9 September 2018.
- ^ Martelini, L. 2006, pp. 79–81
- ^ "Movie Review: Accattone". www.austinchronicle.com.
- ^ Barbaro, Nick (19 January 2001). "Che Bella: Italian Neorealism and the Movies – and the AFS Series – It Inspired". The Austin Chronicle. Archived from the original on 7 December 2006. Retrieved 13 December 2006.
- ^ "Berlinale 1966: Juries". berlinale.de. Retrieved 22 February 2010.
- ^ YouTube. Retrieved 22 May 2014.
- ^ "Pier Paolo Pasolini – Biography". pierpaolopasolini.com.
- ^ "Berlinale 1972: Prize Winners". berlinale.de. Archived from the original on 27 April 2014. Retrieved 16 March 2010.
- ^ "Festival de Cannes: Arabian Nights". festival-cannes.com. Retrieved 26 June 2011.
- ^ Love Meetings (1964) - Release info - IMDb, retrieved 10 January 2024
- ^ Pasolini. "Love Meetings (Criterion Collection)".
- ^ a b c d Siciliano, Enzo. 2014, 148
- ^ a b Siciliano, Enzo. 2014, 149
- ^ Siciliano, Enzo. 2014, 151
- ^ Ireland, Doug (4 August 2005). "Restoring Pasolini". LA Weekly. LA Weekly, LP. Archived from the original on 27 December 2013. Retrieved 29 August 2010.
- ^ "L'Amore impossibile tra PPP e Maria Callas nel film "L'isola di Medea" di Sergio Naitza". 7 August 2016.
- ^ "Pasolini e le donne-oggetto del piccolo schermo". 2 June 2017.
- ^ Twitty, Thalia (18 April 2022). "Pasolini's greatest passion: football". Wire Service Canada. Retrieved 11 August 2023.
- ^ a b Siciliano, Enzo. 2014, 111–112
- ^ a b c d e f "Contro le strumentalizzazioni di Pasolini: il falso dell"anti-antifascismo", di Wu Ming 1". Centro Studi Pier Paolo Pasolini Casarsa della Delizia (in Italian). 25 February 2018. Retrieved 25 September 2023.
- ^ a b Pasolini, Pier Paolo (16 June 1968). "Il Pci ai giovani" [The PCI to Young People]. L'Espresso (in Italian). Retrieved 8 June 2018.
- ^ Martelini, L. 2006, pp. 141–142
- ^ Martelini, L. 2006, p. 141
- ^ "Pasolini e i processi". Loescher Editore (in Italian). Retrieved 25 September 2023.
- ^ Damato, Cosimo Damiano (22 May 2022). "Pier Paolo Pasolini e il libro bianco delle persecuzioni". ReWriters (in Italian). Retrieved 25 September 2023.
- ^ Wu Ming 1 (29 October 2015). "La polizia contro Pasolini, Pasolini contro la polizia" [The Police vs. Pasolini, Pasolini vs. The Police]. Internazionale.it (in Italian). Retrieved 8 June 2018.
{{cite web}}
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- ^ Martelini, L. 2006, pp. 184–185
- ^ Siciliano, Enzo. 2014, p. 389
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- ISBN 9781503615328.
- ^ a b c d e Andrews, Geoff (1 November 2005). "The life and death of Pier Paolo Pasolini". OpenDemocracy. Retrieved 7 November 2022.
- ^ a b Siciliano, Enzo. 2014, pp. 388–389
- ^ a b c Vulliamy, Ed (24 August 2014). "Who really killed Pier Paolo Pasolini?". The Guardian. Retrieved 12 May 2017.
- ^ Liukkonen, Petri. "Pier Paolo Pasolini". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 7 March 2006.
- ^ "Conversation with Pier Paolo Pasolini". Radio Radicale. Retrieved 7 June 2018.
- ^ a b Pasolini, Pier Paolo (1 January 1975). "L'aborto il coito" [Abortion, Copulation]. Corriere della Sera. Archived from the original on 12 June 2018. Retrieved 8 June 2018.
- ISBN 9780802072191. Retrieved 8 June 2018.
- ^ Colombo, Furio; Battista, Anna (8 November 1975). "Siamo tutti in pericolo" [We are all in danger] (PDF). La Stampa. Retrieved 8 June 2018.
- ^ "The violent death of "inconvenient" intellect, Pier Paolo Pasolini — Italianmedia". ilglobo.com.au. Archived from the original on 11 August 2020. Retrieved 20 October 2019.
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- ^ a b Gumbell, Andrew (23 September 1995). "Who killed Pasolini?". The Independent. Archived from the original on 26 May 2022. Retrieved 25 May 2015.
- ^ Cataldi, Benedetto (5 May 2005). "Pasolini death inquiry reopened". BBC.
- ^ "Asesinato de Pasolini, nueva investigación". La Razón (in Spanish). Archived from the original on 2 July 2017. Retrieved 4 July 2012.
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- ^ Google Drive Viewer. Google, 2 April 2010. Retrieved 22 May 2014.
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Further reading
- Aichele, George. "Translation as De-canonization: Matthew's Gospel According to Pasolini – filmmaker Pier Paolo Pasolini – Critical Essay." Cross Currents (2002).
- Chiesa, Lorenzo. Pasolini and the Ugliness of Bodies. In: Polezzi, Loredana and Ross, Charlotte, eds. In Corpore: Bodies in Post-Unification Italy. Farleigh Dickinson University Press, Madison, pp. 208–227. ISBN 978-0-8386-4164-4.
- Distefano, John. "Picturing Pasolini", Art Journal (1997).
- Eloit, Audrene. "Oedipus Rex by Pier Paolo Pasolini The Palimpsest: Rewriting and the Creation of Pasolini's Cinematic Language." Literature Film Quarterly (2004).
- Fabbro, Elena (ed.). Il mito greco nell'opera di Pasolini. Atti del Convegno Udine-Casarsa della Delizia, 24–26 ottobre 2002. Udine: Forum (2004); ISBN 88-8420-230-2
- Forni, Kathleen. "A "Cinema of Poetry": What Pasolini Did to Chancer's Canterbury Tales." Literature Film Quarterly (2002).
- Frisch, Anette. "Francesco Vezzolini: Pasolini Reloaded." Interview, Rutgers University Alexander Library, New Brunswick, NJ.
- Ginzburg, Carlo, Safran, Yehuda, Sherer Daniel. "An Interview with Carlo Ginzburg, by Yehuda Safran and Daniel Sherer." Potlatch 5 (2022), special issue on Carlo Ginzburg. Discussion of Ginzburg's meeting with Pasolini and Elsa Morante and Pasolini's interest in Ginzburg's work as a historian of Friuli.
- Green, Martin. "The Dialectic Adaptation."
- Greene, Naomi. Pier Paolo Pasolini: Cinema as Heresy. Princeton, NJ: Princeton UP, 1990.
- Hamza, Agon. Althusser and Pasolini - Philosophy, Marxism and Film. Palgrave, NY (2016); ISBN 978-1-137-56651-5
- Meyer-Krahmer, Benjamin. "Transmediality and Pastiche as Techniques in Pasolini’s Art Production", in: P.P.P. – Pier Paolo Pasolini and death, eds. Bernhart Schwenk, Michael Semff, Ostfildern 2005, pp. 109–118
- Passannanti, Erminia, Il corpo & il potere. Salò o le 120 giornate di Sodoma di Pier Paolo Pasolini, Prima edizione, Troubador, Leicester, 2004; Seconda Edizione, Joker, Savona 2008.
- Passannanti, Erminia, Il Cristo del'Eresia. Pier Paolo Pasolini. Cinema e Censura, Joker, Savona 2009.
- Passannanti, Erminia, La ricotta. Il Sacro trasgredito. Il cinema di Pier Paolo Pasolini e la censura religiosa, 2009 was also published in "Italy on Screen" (Peter Lang Ed., 2011). The book contains excerpts from the 1962 court trial.
- Pugh, Tison. "Chaucerian Fabliaux, Cinematic Fabliau: Pier Paolo Pasolini's I racconti di Canterbury", Literature Film Quarterly (2004).
- Restivo, Angelo. The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. London: Duke UP, 2002.
- Rohdie, Sam. The Passion of Pier Paolo Pasolini. Bloomington, Indiana: Indiana UP, 1995.
- Rumble, Patrick A. Allegories of contamination: Pier Paolo Pasolini's Trilogy of life. Toronto: University of Toronto Press, 1996.
- Schwartz, Barth D. Pasolini Requiem. 1st ed. New York: Pantheon Books, 1992.
- Siciliano, Enzo. Pasolini: A Biography. Trans. John Shepley. New York: Random House, 1982.
- Thompson, N.S., Pier Paolo Pasolini: Poet and Prophet, in Murray, Glen (ed.), Cencrastus No. 7, Winter 1981 - 82, pp. 30 – 32.
- Tusa, Giovanbattista. "The Pasolinian Century", in: Hildebrandt, Toni and Tusa, Giovanbattista (eds.), PPPP. Pier Paolo Pasolini Philosopher. Mimesis International, 2022, pp. 317–323.
- Viano, Maurizio. A Certain Realism: Making Use of Pasolini's Film Theory and Practice. Berkeley: University of California Press, 1993.
- Willimon, William H. "Faithful to the script", Christian Century (2004).
External links
- Pier Paolo Pasolini at IMDb
- Interview with Jonas Mekas in Bomb Magazine Archived 18 June 2015 at the Wayback Machine
- Pasolini on Filmgalerie451 Archived 16 April 2013 at the Wayback Machine
- Piers Paolo Pasolini, Italian Website with Extensive Commentary
- "Pier Paolo Pasolini", Senses of Cinema
- BBC News Report on the Reopening of the Murder Case
- Guy Flatley: "The Atheist Who Was Obsessed with God" Archived 3 March 2016 at the Wayback Machine, MovieCrazed
- Doug Ireland, "Restoring Pasolini", ZMag
- Pasolini's Own Notes on Salò from 1974
- Pier Paolo Pasolini Poems – Original Italian Text.
- Video (in Italian): Pasolini on the Destructive Impact of Television on YouTube (Interrupted and Half-Censored by Enzo Biagi)
- Italian Website dedicated to Pasolini
- Pasolini's Second to Last Interview, Long Believed to Have Been Lost
- "Pasolini’s Legacy: A Sprawl of Brutality", Dennis Lim, The New York Times, 26 December 2012