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	Pier Paolo Pasolini - Wikipedia, the free encyclopedia
		Pasolini was born in Bologna, traditionally the most leftist of Italian cities.
		In 1926, however, Pasolini's father was arrested for gambling debts, and his mother moved to her family's house in Casarsa, in the Friuli region.
		Pasolini's poetry, lesser known outside of Italy, often deals with his highly revered mother and his same-sex love interests, but this is not the main and only theme.
	en.wikipedia.org /wiki/Pier_Paolo_Pasolini (3477 words)

	Guardian Unlimited Film \| Features \| The Pasolini code
		You can see that Pasolini was aware of what was happening in art galleries in the 1960s, and that some of his earthy, sombre works have something in common with the arte povera movement, especially when he sticks organic matter to the picture.
		Pasolini wrote scathingly about the end of the old Italy he had been born into in 1922: the passing of the rural world, the coming of consumerism, television, the youth cult.
		In his History of Contemporary Italy, Paul Ginsborg quotes Pasolini as an eloquent witness to the melancholia of modernisation: "In the early 1960s, with the pollution of the air, and above all in the countryside with the pollution of the water (the blue streams and the transparent sunbeams), the fireflies began to disappear...
	film.guardian.co.uk /features/featurepages/0,4120,1649555,00.html (1382 words)

	LA Weekly - Restoring Pasolini
		Pasolini — who started writing poetry at the age of 7 — began winning poetry prizes at 19, and published his first volume of poems at the age of 20, while teaching elementary school and writing political reportages (especially on the postwar peasant rebellions) and literary criticism for the local newspapers to support himself.
		Pasolini refused to give up his political commitments, and as a result was arrested by the police for “corruption of a minor” in a case involving a 16-year-old lad, after the priest informed on him.
		Pasolini was to be brought to trial many times for his work as a writer and film director — and organized gangs of homophobic fascist youth frequently attacked the cinemas showing his films (and the cinema-goers).
	www.laweekly.com /ink/05/37/news-ireland.php (1884 words)

	Jim's Reviews - Oedipus Rex
		Pasolini wanted to film the myth as something which takes place in an authentic setting, yet which is set in a period which is outside of actual historical time.
		Pasolini was an outspoken proponent of the auteur theory, which states that a strong filmmaker is the author of their film.
		Pasolini's Oedipus is both the figure of myth and a strangely dark reflection of the filmmaker himself.
	jclarkmedia.com /pasolini/pasolini12.html (2196 words)

	BBC NEWS \| Entertainment \| Film \| Pasolini death inquiry reopened
		Pasolini was a high-profile Marxist intellectual and many in Italy at the time believed this was a political murder, rather than a case of events spinning out of control in Rome's homosexual underworld - the version endorsed by subsequent inquiries.
		Pasolini is also thought to have received death threats from neo-Fascists over his last film, Salo, or the 120 Days of Sodom.
		Pasolini was an all-round intellectual, not only a film director: he was also a well-known poet, novelist, journalist, playwright.
	news.bbc.co.uk /1/hi/entertainment/film/4529877.stm (590 words)

	Why was Pasolini murdered? A review of Marco Tullio Giordana's Pasolini, an Italian Crime
		Pier Paolo Pasolini, the left-wing Italian writer and filmmaker, was beaten to death in November 1975.
		Pasolini was one of the major artistic figures in postwar Italy.
		Pasolini's decades-long relationship with the Communist Party is far too complex to be discussed within the confines of this review.
	www.wsws.org /arts/1995/nov1995/paso-n95.shtml (1572 words)

	Pasolini Murder Case Re-Opened in Rome : LA IMC
		In that version, Pasolini was killed by a 17-year-old hustler after Pasolini picked up the boy, took him to a deserted lot near the beaches of Ostia, and tried to sodomize him with a large piece of wood -- this was the story the hustler, Pino Pelosi, told the police in his confession.
		Pasolini was a committed, if iconoclastic, left-winger, with a lifelong love-hate relationship with the Italian Communist Party, from which he was expelled for homosexuality.
		Pasolini was a life-long anti-fascist, who -- as a teenager -- was arrested by the Nazis in 1943 and later escaped from a German prison camp.
	la.indymedia.org /news/2005/05/126175.php (1092 words)

	Pasolini's Wheel: Pasolini's View of the Decameron
		Pasolini's intention was not to recreate the medieval world of Boccaccio's characters but instead to comment on contemporary Italian society through the metaphorical use of the original novellas of the Decameron.
		Pasolini dismantles the bourgeois frame of the brigata and replaces it with two subframes composed of modified novellas from the Decameron.
		Pasolini's Ciappelletto is "sacrificed" and manipulated by the bourgeoisie, allowing the usurers to continue with their capitalist pursuits and the Church to appropriate his "good" reputation in order further to mislead the poorer classes through their naive and trusting religious devotion.
	brown.edu /Departments/Italian_Studies/dweb/arts/wheel/pasolini.shtml (460 words)

	Italian Directors - Pier Paolo Pasolini
		Pasolini's final film of his Trilogy of Life, Arabian Nights is a carnal comic tale following the adventures of a slave girl, Pelligrini, as she rises to power.
		Pasolini has refashioned the 100 tales into a collection of 11 sketches that are at the same time erotic, political, humorous and autobiographical.
		Pasolini uses a comic crow, which philosophizes amusingly and pointedly about the passing scene, as a counterpoint to the performers, representing humanity, as they progress down the road of life.
	www.multilingualbooks.com /foreignvids-ital-pasolini.html (1216 words)

	Passion of Pier Paolo Pasolini (Site not responding. Last check: 2007-10-22)
		A singular figure in Italian cinema and society, the poet, novelist, critic, theorist, and essayist Pier Paolo Pasolini was one of his country's most distinctive filmmakers, most prominent intellectuals, and, throughout his career and even after his brutal death, most controversial artists.
		Pasolini was born in Bologna in 1922, the year Mussolini and the Fascists ascended to power.
		Pasolini was a complex, often contradictory artist who shared Buñuel's disdain for the way modern bourgeois society (and, worse, its Fascist mutation) has constricted the imagination and the soul.
	www.cinematheque.bc.ca /may_june_05/pasolini.html (605 words)

	1. Pier Paolo Pasolini - Biografia in inglese - pagina 1
		Pier Paolo Pasolini - Biografia in inglese - pagina 1
		Pier Paolo Pasolini was born on the 5
		Pasolini attempted to bring to the Left a deepening of the culture of dialect.
	www.pasolini.net /english_biografia01.htm (1042 words)

	glbtq >> literature >> Pasolini, Pier Paolo
		Most of Pasolini's fiction and much of his poetry is shaped by his fascination with the lives of subproletarian youths, first in Friuli and then in the sprawling outskirts of Rome.
		Pasolini's celebrations of young masculinity in all its cruelty, scatology, and eroticism were clearly out of step with the idealizing mythologies that emanated from both the Vatican and Moscow.
		As Pasolini was gradually drawn into the intellectual community of Rome in the 1950s, he inevitably met and began to collaborate with some of the new-wave Italian filmmakers as well as writers.
	www.glbtq.com /literature/pasolini_p.html (1127 words)

	Passion of Pier Paolo Pasolini - Films 1 (Site not responding. Last check: 2007-10-22)
		Pasolini was already well-established as a novelist and a poet, and had collaborated on the scenarios of a number of films (including Fellini's Nights of Cabiria and several works by Mauro Bolognini), when he directed Accattone, his acclaimed debut feature, in 1961.
		Pasolini was drawn to Matthew's version of the Gospel because he found it "rigorous, demanding and absolute," and he would film it accordingly.
		Pasolini's poetic film essay La Rabbia (literally, "Rage") was intended as a Marxist's angry denunciation of the times, and consists of a montage of newsreel footage in which images of key 20th-century political events are punctuated by scenes from the world of culture.
	www.cinematheque.bc.ca /may_june_05/pasolini_1.html (1837 words)

	village voice > theater > The Life and Death of Pier Paolo Pasolini by David Ng
		Pasolini's biographical arc begs the martyred-provocateur treatment à la Larry Flynt, but French playwright Michel Azama delivers something stranger—a chillingly austere account of an inflammatory artist whose life (and death) remain an impenetrable enigma.
		The nonlinear structure heightens Pasolini's unknowability, as does the speechifying dialogue that frequently interrupts the action to impart reams of background information.
		Even when a psychiatrist is called to analyze Pasolini in court, the laundry-list diagnosis (exhibitionism, sexual abnormality, narcissism, etc.) is so generic as to seem like a parody.
	www.villagevoice.com /theater/0548,ng,70472,11.html (483 words)

	Jim's Reviews - Films of Pier Paolo Pasolini
		Pier Paolo Pasolini (1922–1975) has the dubious distinction of being the only great filmmaker who was murdered, possibly at the behest of a right-wing faction which loathed the openly gay, Marxist, atheist –; and popular – artist.
		Pasolini was one of the most prodigiously gifted artists of the twentieth century: poet, novelist, literary and political theorist, screenwriter, actor, cinematographer, editor, composer, producer, and the director of twenty-five films.
		Pasolini considered himself primarily a poet, despite his acclaimed, albeit controversial, work as a novelist, a literary and political theorist and, of course, a filmmaker.
	jclarkmedia.com /pasolini (2269 words)

	Pier Paolo Pasolini Films and a biography (Site not responding. Last check: 2007-10-22)
		In 1945 Pasolini graduated with a thesis entitled "Anthology of pascolinian lyric poetry" and settled in Friuli where he found a job as teacher in a secondary school of Valvasone.
		On October 15,1949 Pasolini was accused of minor corruption and moral unworthiness involving three boys and the ensuing legal battles changed his life.
		He claimed to have met Pasolini near Termini railway station, and after a dinner in a restaurant went to the place where the body was found.
	members.tripod.com /Barry_Stone/pasolini.htm (1722 words)

	Flipside Movie Emporium: Salò, or The 120 Days of Sodom Movie Review
		These four individuals: the Duc, the President, the Bishop, and the Magistrate, conceive an elaborate plan to kidnap 18 teenagers and abscond with them to an isolated mountain retreat, taking along their own daughters (who the four main characters have swapped and taken as wives), an entourage of guards, and four prostitutes.
		Pasolini also makes it fairly clear that he's indicting his audience and their passivity in watching this scene as well.
		Few can look back on Sade's novel or Pasolini's film with fond memories, but even fewer would admit to not being affected by their savage vision.
	www.flipsidemovies.com /salo.html (833 words)

	Pasolini's Filmography (Site not responding. Last check: 2007-10-22)
		As Pasolini did not want to have his own voice heard twice, in both the interviews and the frame, he chose for he latter Lello Bersani, a TV anchorman with "perfect" Italian diction and an impersonal voice.
		Pasolini then imagines that Giotto's pupil goes to Naples to paint a fresco on the walls of the Santa Chiara church.
		Pasolini sounds them out on the pertinence of the comparison he established between the institution of Greek democracy in Athens and the newly acquired independence of many African states.
	italian.vassar.edu /pasolini/filmography.html (2313 words)

	QUO VADIS? THE CINEMA AND FATE OF PIER PAOLO PASOLINI
		Through cinema Pasolini sought to express his conviction that the sacred quality of life is to be found not in any religion, but in life itself, in its naturalness.
		It is, therefore, with honest intentions (and not for the sake of sensationalism) that Pasolini took his search for the meaning of life into the territory of sex and violence.
		As long as Pasolini was seeking in an upward direction, trying to find through his cinema the connection with the Natural Holiness of All, he saw that everything, including the body, was beautiful and had a purpose.
	www.hal-pc.org /~questers/pasolini.html (2022 words)

	In the Extreme: Pasolini's Salo
		In some respects, Pasolini (as a free-thinking, free-acting artist) was like a Sadean libertine: he would cruise the streets at night looking for young men to hit on (it was one of these lads who ended up killing him).
		Pasolini adapted a couple of Greek tragedies, and then made his commercially-successful La trilogia della vita (The Trilogy of Life) comprising Il Decamerone (The Decameron, 1971), I racconti di Canterbury (The Canterbury Tales, 1972) and Il fiore delle mille e una notte (Arabian Nights, 1974).
		Pasolini was obviously a restless and adventurous filmmaker, going through more periods in his 15-year career than either Godard or Rossellini did in their much longer careers.
	www.sensesofcinema.com /contents/00/4/salo.html (1616 words)

	Pasolini on de Sade
		Pier Paolo Pasolini's recent death, apparently stemming from an episode that might have figured in one of de Sade's stories, brings to an end a career that deeply influenced Italian literature (he was also a poet and novelist), linguistic thought and film.
		It is therefore all the more surprising that Pasolini should have chosen not just any de Sade work, but this mammoth potsherd, running to over a quarter pf a million words, as the subject of his newest film, giving up a previous project in order to do so.
		In judging Pasolini's work, it is perhaps necessary to apply the same tolerance usually accorded to the Marquis: to judge his work as a whole and in historical perspective.
	www.opsonicindex.org /salo/sagid.html (3635 words)

	Neil Young's Film Lounge
		Pasolini was killed shortly after the release of Salo - though not, it must be pointed out, by a hostile critic or other angry viewer of his massively controversial movie, but by what the reference books call a “teenage hustler.” The lad’s opinion of Salo, if he had one, isn’t recorded.
		On the other hand, this means Pasolini can get away with anything he likes, with anything he chooses to put onto the screen.
		It’s fair to say, however, that Pasolini’s approach, while effective, is essentially crude: presenting your political enemies as (literally) sadistic demons is hardly an advanced form of engagement with the issues.
	www.jigsawlounge.co.uk /film/salo.html (759 words)

	The Films of Pier Paolo Pasolini
		Pasolini constrasts sepia-toned and color footage, windswept wilderness with the developing city, low class peasants with empty middle-to-upper class members; the camera lingers on the actors' bodies in a detached but strangely erotic fashion, though Mangano's sexual awakening turns ugly in the final act.
		The film itself is generally regarded as Pasolini's most accomplished entry in the trilogy, and it certainly is the most visually sumptuous.
		The framing device involves a slave girl, Pelligrini, around whom the numerous tales are spun as she rises to power and schemes to reunite with the man she loves.
	www.mondo-digital.com /pasolini.html (1355 words)

	Pier Paolo Pasolini
		Outside Italy Pasolini is usually remembered as one of the most significant of the directors who emerged in the second wave of Italian postwar cinema in the early 1960s but, within Italy itself, Pasolini was always much more than just a distinctive and innovative filmmaker.
		Pasolini's sympathies, however, would always remain with his mother, a schoolteacher who cultivated a love of poetry and who transmitted this devotion to her son.
		Pasolini was consequently tried for the offence and received a three-month suspended sentence, even if this was later quashed on appeal and the film eventually allowed to be released with significant cuts.
	www.sensesofcinema.com /contents/directors/02/pasolini.html (4482 words)

	Sade-Pasolini
		Pasolini has shot his scenes to the letter, the way they had been dectrite [described] (I do not say "ecrites" ["written"]) by Sade; hence these scenes have the sad, frozen and rigorous beauty of large encyclopedic sheets.
		In Pasolini's film (this, I believe, was his very own thing) there is no symbolism: on the one hand a gross analogy (fascism, sadism) and on the other, the letter, scrupulous, insistent, displayed, over-polished like a primitive painting: allegory and letter, but never symbol, metaphor, interpretation (the same, but gracious, language in Teorema).
		Remaining faithful to the letter of Sadean scenes, Pasolini comes to the point of distorting the object-Sade and the object-fascism: therefore it is with good reason that Sadeans and politicians are indignant and disapprove.
	www.opsonicindex.org /salo/salbar.html (725 words)

	Amazon.com: Oedipus Rex: DVD: Citti/Mangano/Valli (Site not responding. Last check: 2007-10-22)
		Oedipus Rex (1967) is Pasolini's opulent and riveting adaptation of the ancient myth of Oedipus, a man who unknowingly kills his father and marries his mother; simultaneously, it is a provocative reflection of the filmmaker himself.
		Pasolini wanted to film the myth as something which takes place in an authentic setting, yet which unfolds in a period outside of historical time.
		Pasolini, better known for the controversial Salo; 120 Days of Sodom, has kept the intensity level to a minimum while still presenting the perverse qualities for which he would be known for.
	www.amazon.com /exec/obidos/tg/detail/-/B00008DDUF?v=glance (2431 words)

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