Home > Pier Paolo Pasolini > Incomplete Bibliography of Anglophone Articles Mentioning Il vangelo Secondo Matteo

Incomplete Bibliography of Anglophone Articles Mentioning Il vangelo Secondo Matteo

Aichele, George. “Translation as De-canonization: Matthew’s Gospel According to Pasolini.”

Cross Currents. Winter2002, Vol. 51 Issue 4, p524, 11p

A consideration of the English subtitled version of Il vangelo secondo Matteo in Benjamin’s terms. (relies mostly on a comparison of “literal translation,” Jacobsen’s “intersemiotic translation and “mechanical reproduction.”) Places the film in a lineage that decanonizes Matthew and says Pasolini free’s it from Christian ideology to release its revolutionary potential.

Baker, George. “An Interview with Pierre Huyghe.” October; Fall2004, Issue 110, p81-106, 26p. Self-serving explanations of his pieces related to Pasolini. Mentions the free-indirect in connection with Il Vangelo  and “seeing through the eyes of someone else.

Baker, George. “An Interview With Paul Chan.” October; Winter2008, Issue 123, p205-233, 29p

Baker arbitrarily brings up Comizi d’amore in relation to Chan’s video trilogy. Bakers believes it had to do with location scouting for Il vangelo. Baker completely misrepresents PPP’s “siding with the cops” over the students “because of class.”

Barnett, Louise K. “Pasolini’s Reputation In The United States” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

Track’s Pasolini’s reception in the US, divides it into 2 periods: before and after Il trilogia della vita. He remains obscure before the trilogy and becomes better known after. Mentions Il vangelo  as an important film for US critics and the usual Catholic Marxist opposition of critical terms.

Bondavalli, Simona. “Charming the Cobra with a Ballpoint Pen: Liminality and Spectacular Authorship in Pier Paolo Pasolini’s Interviews.” Modern Language Notes V. 122. issue 1. April 12, 2007), p. 24-45.

The article analyzes Pier Paolo Pasolini’s spectacular authorship as a response to the modified conditions of power in nineteen-sixties Italy. Perceiving the advent of consumer modernity as the affirmation of a disciplinary society, the author is forced to replace the avant-garde strategy of marginality with a spectacular identity that is created and circulated through both literary and non-literary means. Rather than succumbing to the “death of the author” he redefines authorial identity through images. Interviews, printed, broadcast, inserted in poems or film, serve as the privileged arena to observe the author’s public performance and his employment of it for critical purposes. Brief mention of Il vangelo on page 35:

“When Duflot  [an interviewer] introduces The Gospel according to St. Matthew and its mixed critical reception to bring him back to his “religious education,” Pasolini once again complies, patiently providing an explanation of his relationship with religion. However, the parenthetical remark changes the tone of the answer: “With the powerless desire to clarify once and for all; and not without acrimony towards the stubborn people who will not understand”

Bruno, Giuliana. “Heresies: The Body of Pasolini’s Semiotics.” Cinema Journal. Top of FormVol. 30, No. 3, Spring, 1991.

A useful, if somewhat hasty summary of Pasolini’s film theory focused defending it from semiotic critique as well as on his treatment of the body. Would be better if his literary theory and poetry were included. Kneejerk comparison to Peirce. Suggestive passages on the “kino-mouth” and Foucault. Lays the groundwork for outlining Pasolini’s genealogical/philological approach but doesn’t actually do it. Doesn’t give enough historical context for 60s/70s semiotics. Underplays free-indirect discourse and Marxism in the cinema of poetry. Usefully traces Pasolini’s Anglophone redemeption to Delauretus. Il vangelo mentioned in footnote 43 as an example of “the lumpen proletariat physiognomy and the homosexualgaze in the filmic landscape.” Reprinted in Rumble and Testa, Pier Paolo Pasolini: Contemporary Perspectives.

Leone, Massimo. “A Semiotic Comparison Between Mel Gibson’sThe Passion of the Christand Pier Paolo Pasolini’s The Gospel According to Saint Matthew.” Pastoral Psychology; Mar2005, Vol. 53 Issue 4, p351-360, 10p.

“The purpose of this article is to draw a comparison between Mel Gibson’s and Pier Paolo Pasolinis filmic representations of the Passion of Jesus through semiotic instruments of analysis.” Mostly about the Gibson, not very semiotic. Argues that it reflects the world in which we live. Ends with “May the next Passion of the Christ be different.”

Orr, Christopher. “The Politics of Film Form: Observations on Pasolini’s Theory and Practice.” Film Criticism; Winter91, Vol. 15 Issue 2, p38-46, 9p

“The article examines the theoretical essays “Observations on the Sequence Shot” and “The Cinema of Poetry,” by Pier Paolo Pasolini. According to the author, the essays are the most important theoretical statements of Pasolini on film form and these strike most readers as contradictory and mystifying. He notes that Pasolini attempted to develop an alternative Marxist aesthetics in the two essays. Moreover, the article compares Pasolini’s film theories with Andŕe Bazin theories due to their assumptions on the ontology of the cinematic image. Finally, it analyzes Pasolini’s theory from the perspective of the Marxist aesthetic tradition associated with the name of György Lukacs.”

Describes Il Vangelo  in terms of Gerard Gennet’s “multiple internal focalization.”  Sets Pasolini against Bazin. Sees “multiple-focalization” or play of “subjectivities as “montage” because of PPP’s critique of the long take in “Observations on the Sequence Shot.” Analyzes POV in the scene between Gabriel and the magi as of point of view and “relative absence of the films narrator.” Stresses the importance for Pasolini of sub-proletarian focalized content. “We experience the focalization of the gospel as unmotivated and thus it produces distance instead of identification.” More Bordwell than Lukács.

Pasolini, Pier Paolo et al. “Pier Paolo Pasolini: An Epical-Religious View of the World.” Film Quarterly, Vol. 18, No. 4, Summer, 1965

“In Italy critics tell you that the only interesting directors are Antonioni and Pasolini. Pasolini has so far been known only secondhand in the United States,

though his Mamma Roma had a festival showing. However, Pasolini’s films also include Accattone, a rough and effective portrait of a likeable Neapolitan pimp; La Ricotta, an ironic tale which formed part of the three- director film Rogopag; The Gospel According to St. Matthew, a kind of cinema-verite Passion; and La Rabbia, a montage film never released. His Gospel was a considerable popular success in Italy, and won several awards from the Catholic Church. The phenomenon of an avowedly Marxist director happily collecting church prizes is perhaps peculiarly Italian;

but it does not begin to exhaust the strangeness of Pasolini,
widely respected poet and novelist, and has been active in the theater too. His contributions to the cinema include many scripts and script collaborations-on films by Soldati, Fellini (Notti di Cabiria), Bolognini (I1 Bell’Antonio, La Giornata Balorda, and La Notte Brava, which was based on a Pasolini novel), Rossi (Morte di un Amico), Luciano Emmer, and Bertolucci (La Commare Secca). The following conversation took place last year between Pasolini and the students and faculty of the Centro Sperimentale de Cinematografia-the Italian film-school in Rome-and is here (slightly abbreviated) translated by permission from Bianco e Nero. The translation is by Letizia Ciotti Miller and Michael Graham.”

“The St. Matthew I have in mind is somehow the exaltation, on another level, of the elements present in Accattone, in Mamma Roma and in Ricotta … Thinking it over I understood that there were profound reasons, that is the liberation of reli gious inspiration, in a Marxist, from the spurious element that had inspired Accattone, in other words the liberation from the despair which was in Accattone and which becomes inspiration as such. According to me, St. Matthew professional actors, and in the same way he ought to relate violently to the bourgeoisie rushing headlong towards a future which is the destruction of man, of the anthropologically human, classical and religious elements of man. This film is the mere visualization of a particular Gospel, that of St. Matthew; it is not a life of Christ, I haven’t put the Gospels together and written a scenario of the life of Christ as has been done other times; no, this is precisely the Gospel according to Saint Matthew, rep- resented as it is; I haven’t added one line and I haven’t taken any out; I follow the order of the story as it is in St. Matthew, with some narra- tive cuts of such violence and such epic force that they are almost magic but which are still part of the Gospel itself, and therefore this film will be a rather strange thing from the stylistic point of view. In fact long sections of soundless film-the characters don’t talk for long stretches but must represent what they say through gestures and expressions alone, as they did in the silent movies-are followed by sections where Christ speaks for twenty minutes at a stretch. It will be a film that will be, unintentionally, very close to that magmatic style which is basically always typical of my stories. That is to say that stylistically I go back to magma, I free myself from closed forms, from elements of regular scenario writing, etc., with this inspiration of a religious and ideological kind which I hope will give unity and compactness to my work” (44.)

Categories: Pier Paolo Pasolini
  1. September 12, 2013 at 4:44 am

    These are accomplished condensations of the thrust of each of these arguments and very helpful for research. Thank you for taking the time to understand these papers in your own words, which are eminently approachable.

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