The New Adventures of the Avant-Garde in America: Greenberg, Pollock, or from Trotskyism to the New Liberalism of the "Vital Center"

Guilbaut, Serge; Repensek, Thomas

doi:10.2307/778453

Cited by 6 publications

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“…In 1974 Pasolini tried to reaffirm his position at the forefront of the cinematic avant-garde by declaring that "artists must create, critics defend, and democratic people support ... works so extreme that they become unacceptable even to the broadest minds of the new state" (quoted by Greene, 1994, page 241). His films still have the capacity to shock, even to offend, but this in itself is little measure of their critical worth unless we choose to ascribe some critical value to art on this basis of risk or transgression alone (see Burger, 1984;Guilbaut, 1980). With sophisticated developments in the reading of film since the 1970s, the idea of a distinctive cinematic system of signification has proved increasingly untenable.…”

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confidence: 99%

The Heretical Landscape of the Body: Pier Paolo Pasolini and the Scopic Regime of European Cinema

Gandy

1996

Environ Plan D

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Pier Paolo Pasolini, the Italian poet, novelist, and film director, is widely regarded as one of the most significant figures to emerge in postwar European culture. In this paper I focus on four of Pasolini's films, Mamma Roma, Theorem, Arabian Nights, and Said, in order to explore the innate tension in his work between nature and culture emerging from his search for cultural authenticity and artistic autonomy. I show that his earlier concern with the superiority of rural life evolved into an emphasis on the body and sexuality as an ontologically privileged and prelinguistic source of meaning in his 'cinema of poetics'. I suggest that Pasolini never successfully resolved the problematic place of the cinematic medium in relation to culture as a contested historical process of ideological signification. I conclude that the contradictions within Pasolini's work have implications for the contemporary critique of occularcentristn under Western modernity.

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Section: Resultsmentioning

confidence: 99%