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
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