«Why make a work when it is so beautiful to only dream of it?». The creative act in Pasolini’s cinema
DOI:
https://doi.org/10.7203/eutopias.27.28677Keywords:
Artist, director, painter, writer, creative process.Abstract
Pupil of Roberto Longhi, the most influential historical and Italian art critic of the twentieth century, Pier Paolo Pasolini kept in mind the lesson of that teacher in the construction of his images, sometimes inspired by Renaissance and Mannerist paintings. But in addition to these well -known iconographic references in his movies, reflections on creative act and art in general are often found. The essay therefore aims to focus on some of these moments and to comment on specifically the figures of the artists who appear in some of his films, such as Giotto’s pupil by the same director played in the Decameron or as the director played by Orson Welles in La Ricotta. Through a reading of these examples, it will try to offer an interpretation of the author’s gaze on art and on the humans’ need to create and produce artistic artifacts.
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References
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Pasolini, Pier Paolo. Le regole di un’illusione. I film, il cinema. Eds. Laura Betti e Michele Gulinucci. Roma: Associazione Fondo Pier Paolo Pasolini, 1991.
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