Pasolini – Guareschi. Poetical “Anger” and Its Further Repercussions
Abstract
The author deals with the production, exegesis and ideological and political contexts of the first Italian compilation film La Rabbia (Anger) by Pier Paolo Pasolini and Giovanni Guareschi. The film created in 1962, based on film footage collected by the film chronicle Mondo Libero for two decades, was to present the problems of modernity from two opposing ideological positions: leftist, represented by Pasolini, and rightwing, represented by Guareschi. In his text Jóźwiak questions the previous interpretations of this film. An in-depth analysis of the dialogue layer and visual material reveals the political position of Pasolini, which from today’s perspective raises doubts, towards the Soviet regime, which consists of, among others, justification of the Soviet invasion of Hungary in 1956 and ethical relativization of Soviet policy. On the other hand, the analysis of the right-wing “fascist” part of Guareschi leads to surprising conclusions regarding the camouflaged influence of his thoughts on Pasolini’s later political attitude. In this light La Rabbia appears as a ground-breaking film in the evolution of Pasolini’s thought and creativity.
Keywords:
Pier Paolo Pasolini, Giovanni Guareschi, politicsReferences
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Authors
Karol Jóźwiakkwartalnik.filmowy@ispan.pl
Univeristy of Lodz Poland
Doktor nauk humanistycznych w dyscyplinie kulturoznawstwo; historyk i krytyk sztuki. Autor rozprawy doktorskiej Koncepcja języka rzeczywistości w refleksji teoretycznej i twórczości artystycznej Pier Paolo Pasoliniego; stypendysta NCN – w ramach programu Etiuda aktualnie przebywa na stażu doktorskim w Université Sorbonne Nouvelle Paris 3. Autor artykułów dotyczących sztuki i kultury XX w., a także książek artystycznych Zofia Rydet. Inwentaryzacja wizerunków (2013), Haunting Images (2014).
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Copyright (c) 2018 Karol Jóźwiak
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