Pasolini and Third World hunger: An approach to Cinema Novo through La ricotta

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Bibliographische Detailangaben
Beteiligte: Elduque, Albert
In: Journal of Italian Cinema & Media Studies, 4, 2016, 3, S. 369-385
veröffentlicht:
Intellect
Medientyp: Artikel, E-Artikel

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Umfang: 369-385
ISSN: 2047-7376
2047-7368
DOI: 10.1386/jicms.4.3.369_1
veröffentlicht in: Journal of Italian Cinema & Media Studies
Sprache: Englisch
Schlagwörter:
Kollektion: Intellect (CrossRef)
Inhaltsangabe

<jats:title>Abstract</jats:title> <jats:p>Among the links between Pier Paolo Pasolini and Brazilian Cinema Novo, one of the most inspiring is the political approach to hunger and consumption. In this text, I analyse this topic to look at how some of the aesthetic ideas in Pasolini’s La ricotta (1963) can also be found in some of the most important films of Cinema Novo. In La ricotta (1963), the irresistible need to eat of a subproletarian interacts and clashes with his responsibilities as an actor in a movie version of the Passion of Christ, so that the film creates a complex network of relations between film shooting, social differences, art, hunger, consumption, time and light, which turns the film set into a space for displaying political relations, differences, exploitation and revolution. The correspondences between these concepts and some aggression techniques of Cinema Novo are numerous and confirm the capacity of Pasolini’s film to project ideas on cinema and politics beyond its particular production context.</jats:p>