Dear George,
Re: Pasolini and modern theorists
I haven't examined what P.P.P. does with those particular sources in that
particular film, but in studying/viewing/teaching his other films it seems
to me that he was indeed aware of modern theorists/philosophers and had
definitely read their works, but then does his own reinterpretation of
them. He synthesizes what he had read in his own unique way, drawing
inspiration from them, taking what he wants to support his own art and
philosophy of life.
Sounds like this would be a fruitful argument for your postgraduate student
to pursue.
Gloria
At 06:07 PM 1/11/01 -0000, you wrote:
>Dear colleagues,
>
>one of our postgraduate students, Domenico Gaspari, is conducting research
>on Pier Paolo Pasolini's *Salo'*, and he has a couple of questions I can't
>answer, and which I cannot find the answers to. (No surprise there! :-) ) I
>hope that you may be able to assist him.
>
>The first question has to do with the function authors such as Barthes,
>Blanchot and Klossowski serve in *Salo'*. What does Pasolini actually take
>from these authors: are there lines or concepts he 'borrows' from them?
>
>The second question is about the presence of the work of modern painters
>such as Leger and Severini in the film. Can there be some message in the
>choice of his displays of these artists' works?
>
>Many thanks for your assistance!
>
>George Ferzoco
>University of Leicester
>
>
_______________________
Gloria Allaire
Italian Studies
Gettysburg College
Campus Box 394
Gettysburg, PA 17325
(717) 337-6558 (office)
(717) 642-5167 (home)
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