As recently highlighted by Georges Didi-Huberman, much of the theoretical and artistic work of Pier Paolo Pasolini revolves around the problem of constructing a “great action poem” in which the main players are “the people” (English term that Didi-Huberman considers inadequate to express the political strength of the concept of popolo). But how do you restore the space and time of the actions of men and women living on the margins of progress within the space-time of the mise en scène of film? The article highlights the centrality of the film "La Ricotta" (1962) within Pasolini’s work. A theoretical and self-critical film that underscores both the potential and the limits of Pasolini’s aesthetic project and invites us to reflect on the ethical and political issues involved.
Sui limiti di un “poema d’azione” cinematografico
Zucconi F
2014-01-01
Abstract
As recently highlighted by Georges Didi-Huberman, much of the theoretical and artistic work of Pier Paolo Pasolini revolves around the problem of constructing a “great action poem” in which the main players are “the people” (English term that Didi-Huberman considers inadequate to express the political strength of the concept of popolo). But how do you restore the space and time of the actions of men and women living on the margins of progress within the space-time of the mise en scène of film? The article highlights the centrality of the film "La Ricotta" (1962) within Pasolini’s work. A theoretical and self-critical film that underscores both the potential and the limits of Pasolini’s aesthetic project and invites us to reflect on the ethical and political issues involved.
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