Saturday, March 22, 2008
Hartford Annuities Acd
Tuesday, March 11, 2008
Tight Confidentiality Clause
CINEFORUM
“UCCELLACCI E UCCELLINI”
di Pier Paolo Pasolini
domenica 26/2/2006
COORDINATE PER IL VOLO
Pasolini: breve nota biografica
Pier Paolo Pasolini nasce a Bologna il 5 marzo 1922, e qui compie gli studi universitari laureandosi in lettere (con una tesi su Pascoli). Nel 1942 esordisce come poeta, con le Poesie a Casarsa, in dialetto Friulano. Nel 1949 si trasferisce a Roma, dove, dopo un periodo di difficoltà economiche, ottiene i primi successi con i romanzi Ragazzi Life (1955) and Una vita violenta (1959), inspired by the environment of Roman settlements. Between 1955 and 1959 he took part in the life of the magazine Bologna Officina, open to the formal experimentation and politically engaged. From 1960 onwards, the discovery of the cinema as a medium to full Pasolini brings fame not only nationally (see The films of Pasolini, paragraph 3)
The arrival of the Seventies marks a partial return of Pasolini's writing, characterized by interventions news (merged in the Writings Corsairs, 1975) and the second draft of the poems Friulian (New Youth, 1975).
Pasolini was found dead at dawn on November 2, 1975 at Fiumicino, have never clarification of the causes and conditions of his assassination (Modified from R. Luper, writing and interpretation).
Pasolini and cinema
Schematically Pasolini's artistic production can be divided into two periods, whereas in 1960 as a watershed time, in fact this is the year in which his attention, first addressed the scope of literature and poetry, is directed towards the cinema.
Where does however, need to abandon a language learned and established as a literary one, to advance in the new world of cinema?
Adherence to this new form of communication is a response to the growing need in a language Pasolini highly realistic, can be understood by the less educated classes. Enlarging the number of recipients of the work of Pasolini, there is growing attention to the reflection of the poet-director. The film takes
Pasolini in a dual meaning. On the one hand "the cinema is not just an alternative to the literature, but also a way to criticize and even reject it" (Luper, ibid.), Putting the light of the gap between writing and the reality that it seeks to represent; second technique allows Pasolini film to satisfy the need to represent reality as it appears, allowing a more direct membership realistic object. "In fact, the written or spoken language, ie verbal, are translations of evocation: translating reality and evoking the prospect of the author by conventional linguistic signs that do not have the reality or a subjective conception date no direct link. On the contrary, the languages \u200b\u200bare translations for audio-visual reproduction: reproducing it reflected reality. The film is thus a language of reality. More still: the movie is to reality, according to Pasolini, as well as the written language is the oral one, understood in its broadest sense, the film that is fixed and organized in a language grammaticalized (subjected to conventional structures) that che nella realtà si esprime liberamente e al di fuori di qualsiasi ordine logico. Il cinema è dunque la lingua scritta della realtà” (Luperini, ibid.).
“UCCELLACCI E UCCELLINI”
di Pier Paolo Pasolini
domenica 26/2/2006
COORDINATE PER IL VOLO
Pasolini: breve nota biografica
Pier Paolo Pasolini nasce a Bologna il 5 marzo 1922, e qui compie gli studi universitari laureandosi in lettere (con una tesi su Pascoli). Nel 1942 esordisce come poeta, con le Poesie a Casarsa, in dialetto Friulano. Nel 1949 si trasferisce a Roma, dove, dopo un periodo di difficoltà economiche, ottiene i primi successi con i romanzi Ragazzi Life (1955) and Una vita violenta (1959), inspired by the environment of Roman settlements. Between 1955 and 1959 he took part in the life of the magazine Bologna Officina, open to the formal experimentation and politically engaged. From 1960 onwards, the discovery of the cinema as a medium to full Pasolini brings fame not only nationally (see The films of Pasolini, paragraph 3)
The arrival of the Seventies marks a partial return of Pasolini's writing, characterized by interventions news (merged in the Writings Corsairs, 1975) and the second draft of the poems Friulian (New Youth, 1975).
Pasolini was found dead at dawn on November 2, 1975 at Fiumicino, have never clarification of the causes and conditions of his assassination (Modified from R. Luper, writing and interpretation).
Pasolini and cinema
Schematically Pasolini's artistic production can be divided into two periods, whereas in 1960 as a watershed time, in fact this is the year in which his attention, first addressed the scope of literature and poetry, is directed towards the cinema.
Where does however, need to abandon a language learned and established as a literary one, to advance in the new world of cinema?
Adherence to this new form of communication is a response to the growing need in a language Pasolini highly realistic, can be understood by the less educated classes. Enlarging the number of recipients of the work of Pasolini, there is growing attention to the reflection of the poet-director. The film takes
Pasolini in a dual meaning. On the one hand "the cinema is not just an alternative to the literature, but also a way to criticize and even reject it" (Luper, ibid.), Putting the light of the gap between writing and the reality that it seeks to represent; second technique allows Pasolini film to satisfy the need to represent reality as it appears, allowing a more direct membership realistic object. "In fact, the written or spoken language, ie verbal, are translations of evocation: translating reality and evoking the prospect of the author by conventional linguistic signs that do not have the reality or a subjective conception date no direct link. On the contrary, the languages \u200b\u200bare translations for audio-visual reproduction: reproducing it reflected reality. The film is thus a language of reality. More still: the movie is to reality, according to Pasolini, as well as the written language is the oral one, understood in its broadest sense, the film that is fixed and organized in a language grammaticalized (subjected to conventional structures) that che nella realtà si esprime liberamente e al di fuori di qualsiasi ordine logico. Il cinema è dunque la lingua scritta della realtà” (Luperini, ibid.).
Uccellacci e uccellini
“Dove va il mondo? Boh!” E’ con questa frase che si apre la commedia girata da Pasolini nel 1965, che vede come protagonisti Totò e Ninetto Davoli, padre e figlio impegnati in un viaggio senza alcuna destinazione.
Il tragitto dei due viene animato dall’improvvisa comparsa di un nuovo personaggio, il corvo, che si propone come loro compagno di viaggio. Metafora dell’ intellettuale marxista, caratterizzato da un forte Emilian accent, the raven lends his voice and his image as the director himself, becoming a mirror image in the film.
During the journey, the raven tells Ninetto Toto and a quick apology, which moves the action at the time of St. Francis. This charge Ninetto Brother and Brother Ciccillo to teach the sparrows and hawks heavenly love. However, while managing the enterprise Ciccillo brother, he realizes that the hawks continue to feed the sparrows.
The action then returns to Italy in the Sixties, and the camera starts to follow the journey of Toto and Ninetto, accompanied by increasingly annoying presence of the crow, father and son finally decided to get rid of him eating it. So there is the Marxist intellectual martyrdom.
subject of the story is impossible to describe the problem in a capitalist structure. The raven himself quotes Lukacs - the journey begins, and the journey is over-expressing the need to continue the search without any purposeful optimism (MA Bazzocchi, Pier Paolo Pasolini). Toto and Ninetto continue their journey, perhaps conscious of not being directed toward any goal.
Main ...
Marco Antonio Bazzocchi
Pier Paolo Pasolini and Giacomo Jori Rai Educational Pasolini
Fulvio Abbate Once Upon a Time Pier Paolo Pasolini Pier Vincenzo
Mengaldo, Pier Paolo Pasolini in Italian poets of the twentieth century
Monday, March 10, 2008
Anniversary Gifts For Parents 37th
young
Pasolini Pasolini Pasolini thirty years later. Holder so I could have this article, echoing the many initiatives that have taken place in recent days for the thirtieth anniversary of the death of the poet, director and writer. However I would prefer moving away from the many eulogies "stragglers" from the deep bows of fact and easy, I prefer not to take this opportunity to say what Pasolini was good and what we lack, but because Pasolini is a key figure for the life of our young people. And I do this with some emotion, which comes from two reasons. First, I speak a figure that I really care. Second, I do it on the pages of Elemento38, I directed two years ago.
"We applaud only the clichés, but would it be to cultivate the atrocities of the doubt," says the young Pasolini in the square in 1975. The question, then here is the first value to be treasured. Doubt it means to be in a critical position towards the world around us, wondering if it really gives us the prosperity that is real or apparent (see "Notes for a poem in Lapland" by The New Youth, 1975). This theme also emerges from the words of the crow / Marxist intellectual film Hawks and the Sparrows (1966), which states: "My parents are Mr. Doubt and Mrs. Consciousness. "
Here, conscience: that of Pasolini is a real critical consciousness and civil in their origins and love for your country, able to stand in opposition against a sick society of consumerism, a consciousness in need of a poem and true to his word the literal meaning to convey their beliefs (up to accusations of being without poetry-poetry, cf. Raboni G., The poem is done, 2005) and its strong diversity, while perceived as excruciating pain, it was proved to be a big plus. Pasolini, with his own life, teaches us to challenge the approval requires that this mass society, ie his desire greedy to see us all equal, in rights (or duties), but the material needs and consumption. It teaches us to have the courage to be ourselves and make different choices, even when it goes against the fashion and the thinking of the majority.
The latter figure is that I would like to analyze the political passion of Pasolini. I regret to note that today, influenced by a kind of egocentrism fundamentalist sponsored largely by the media and tacitly left to run by the same generation that took to the streets in 1968, we are young we completely disinterested in politics, perceiving it as something remote that does not concern us. In these circumstances, the lifetime of Pasolini to provide an example to follow. As early as the year of his youth, he begins to construct a complex and original of a Marxist political thought that develops from there to locate in Antonio Gramsci, a sort of "spiritual brother" (The Ashes of Gramsci, 1957), and that allows him to analyze the world and society through acute observations. This resulted in a series of papers and newspaper articles, among which should be mentioned the pirates Writings (1975). Pasolini invites us to be part of society, not to ignore politics but to take part with enthusiasm.
Doubt, conscience, diversity and political passion: these are just some of the lessons that Pier Paolo Pasolini deliver to us young people, which is worth to treasure; a kind of coordinates to enter the world of the great writer, which, ultimately, is our world, our society.
Joe
suggested reading: PPP
The dream of a thing (novel), Garzanti 1962
PPP Poems (auto-poetic anthology), Garzanti 1970
PPP Writings Corsairs (collection of articles), Garzanti 1975
MA Bazzocchi Pier Paolo Pasolini, Bruno Mondadori 1998
G. Jori Rai Educational and Pasolini (book and cassette), Einaudi 2001
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