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Écrits sur le cinéma
Aujourd'hui, l'oeuvre de Pier Paolo Pasolini demeure très présente chez tous les amateurs de cinéma. Sa figure de poète et d'écrivain est également bien connue du public français. Ses écrits sur le cinéma ne sont plus aujourd'hui accessibles, c'est pourquoi la Petite bibliothèque des Cahiers du cinéma en offre un nouveau recueil, sous la direction d'Hervé Joubert-Laurencin.
Cette nouvelle édition rassemble les critiques de films écrites par Pier Paolo Pasolini entre 1957 et 1974. Fellini, Rossellini, Visconti, Antonioni, et aussi le tout-venant de la production italienne et de la distribution en salles à Rome que, d'une plume libre et acerbe, chronique Pasolini au rythme des revues pour lesquelles il écrit : Il reporter, Vie nuove, Tempo illustrato, Cinema nuovo ou encore Play Boy. Ces critiques sont le versant concret, subjectif, cinéphilique, de la passion théorique du cinéaste. En somme l'actualisation d'intuitions théoriciennes dans les films particuliers. Une préface inédite d'Hervé Joubert-Laurencin.
Cette nouvelle édition rassemble les critiques de films écrites par Pier Paolo Pasolini entre 1957 et 1974. Fellini, Rossellini, Visconti, Antonioni, et aussi le tout-venant de la production italienne et de la distribution en salles à Rome que, d'une plume libre et acerbe, chronique Pasolini au rythme des revues pour lesquelles il écrit : Il reporter, Vie nuove, Tempo illustrato, Cinema nuovo ou encore Play Boy. Ces critiques sont le versant concret, subjectif, cinéphilique, de la passion théorique du cinéaste. En somme l'actualisation d'intuitions théoriciennes dans les films particuliers. Une préface inédite d'Hervé Joubert-Laurencin.
224 pages, Paperback
First published January 1, 2000
About the author
Pier Paolo Pasolini
377 books876 followersItalian poet, novelist, critic, essayst, journalist, translator, dramatist, film director, screenwriter and philosopher, often regarded as one of the greatest minds of XX century, was murdered violently in Rome in 1975 in circumstances not yet been clarified. Pasolini is best known outside Italy for his films, many of which were based on literary sources - The Gospel According to Saint Matthew, The Decameron, The Canterbury Tales...
Pasolini referred himself as a 'Catholic Marxist' and often used shocking juxtapositions of imagery to expose the vapidity of values in modern society.
His essays and newspaper articles often critized the capitalistic omologation and also often contributed to public controversies which had made him many enemies. In the weeks leading up to his murder he had condemned Italy's political class for its corruption, for neo-fascist terrorist conspiracy and for collusion with the Mafia and the infamous "Propaganda 2" masonic lodge of Licio Gelli and Eugenio Cefis.
His friend, the writer Alberto Moravia, considered him "the major Italian poet" of the second half of the 20th century.
Pasolini referred himself as a 'Catholic Marxist' and often used shocking juxtapositions of imagery to expose the vapidity of values in modern society.
His essays and newspaper articles often critized the capitalistic omologation and also often contributed to public controversies which had made him many enemies. In the weeks leading up to his murder he had condemned Italy's political class for its corruption, for neo-fascist terrorist conspiracy and for collusion with the Mafia and the infamous "Propaganda 2" masonic lodge of Licio Gelli and Eugenio Cefis.
His friend, the writer Alberto Moravia, considered him "the major Italian poet" of the second half of the 20th century.
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