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In this sense, I will attempt to reverse Deleuze's literary concepts of “description” “narration” and “story” in the cinematic “time-image” and Pasolini's “free indirect subjective”, and their reflections on subjectivity and objectivity by drawing a continuous trajectory that tries to express the cinematographic, in the ...
Even in Pasolini's cinema of poetry, as in Deleuze's crystalline regime10, “objective and subjective images lose their distinction, but also their identification, in favour of a new circuit where they are wholly replaced, or contaminate each other, or are decomposed and recomposed” (149). 10 Despite the manifest and recognizable closeness between Deleuze's and Pasolini's conceptions of ...
Deleuze establishes free indirect images as a technique of dual subjectification, as if this had been Volosinov’s claim, and then asserts that Pasolini took up this model. Deleuze explains that for Pasolini and SubStance #108, Vol. 34, no. 3, 2005 Free Indirect Discourse in Deleuze’s Cinema 125 Volosinov, free indirect discourse rather than ...
Semantic Scholar extracted view of "The Process of Subjectivation: Pasolini With Deleuze And Guattari" by G. Fadini. Skip to search form Skip to main content Skip to account menu. Semantic Scholar's Logo. Search 218,031,203 papers from all fields of science. Search.
11 de nov. de 2021 · De hecho, Deleuze voluntariamente no tiene en cuenta la pretextualidad que Pasolini subraya del uso de la toma subjetiva libre indirecta en el cine de poesía. Por ejemplo, comentando el pasaje ya citado de Pasolini sobre El desierto rojo , el filósofo dice: “Está bien, en efecto, que el personaje sea neurótico, para indicar mejor el difícil nacimiento de un sujeto en el mundo.”
5 de mar. de 2022 · El libro Pasolini por Pasolini, que acaba de editar El cuenco de plata, con prólogo de Bernardo Bertolucci, no sólo es una prueba contundente de la capacidad de pensamiento de PPP sobre el cine ...
4 de oct. de 2011 · The year before he made Salò, or The 120 Days of Sodom, Pasolini hinted at the scandalous contours his last film would assume. In the course of a 1974 debate, he declared that now, as never before, “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.” In large part, of course ...
