From Bethlehem to Basilicata: Framing Pasolini from Palestine

IF 0.2 0 FILM, RADIO, TELEVISION

Journal of Italian Cinema and Media Studies Pub Date : 2022-01-01 DOI:10.1386/jicms_00102_1

Robert G. White

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Abstract

Sopralluoghi in Palestina (Location Hunting in Palestine) (1965) documents Pasolini’s search for an archaic, biblical world within which to set Il Vangelo secondo Matteo (The Gospel According to St. Matthew) (1964). Pasolini’s search in Palestine/Israel was eventually abandoned, with The Gospel According to St. Matthew being filmed in and around Basilicata. Pasolini’s documentary has proven a fertile object with which Palestinian artists have conducted dialogues. Following Edward Said, this article reads the documentary ‘contrapuntally’ ‐ as a text to be resituated and responded to ‐ through two responses: Ayreen Anastas’s Pasolini Pa* Palestine (2005) and Basma Alsharif’s Ouroboros (2017). Examining Alsharif’s engagement with Carlo Levi’s Cristo si è fermato a Eboli (Christ Stopped at Eboli) (1945), the article interrogates Pasolini’s and Levi’s Basilicata and Anastas’ and Alsharif’s responses from Palestine, arguing that the contrapuntal movement between these four works constitutes a ‘dialectical’ cinematic image of Palestine ‐ between image and reality, the archaic and the contemporary.

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从伯利恒到巴西利卡塔:巴勒斯坦的帕索里尼

《巴勒斯坦的索普拉卢吉》(1965)记录了帕索里尼寻找一个古老的圣经世界，并在其中设置了《万angelo secondo Matteo》(《圣马太福音》)(1964)。帕索里尼在巴勒斯坦/以色列的寻找最终被放弃，《马太福音》在巴西利卡塔及其周边地区拍摄。帕索里尼的纪录片已被证明是巴勒斯坦艺术家进行对话的肥沃对象。本文跟随爱德华·赛义德，将这部纪录片“对位”地解读为一种文本，并通过两种回应来回应:Ayreen Anastas的《Pasolini Pa* Palestine》(2005)和Basma Alsharif的《Ouroboros》(2017)。本文考察了阿尔沙里夫与卡洛·列维的《基督停在埃博利》(1945)的合作，并对帕索里尼和列维的《巴西利卡塔》、阿纳斯塔斯的《阿纳斯塔斯》以及阿尔沙里夫对巴勒斯坦的回应进行了质疑，认为这四部作品之间的对位运动构成了巴勒斯坦的“辩证”电影形象——介于形象与现实、古代与当代之间。

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来源期刊

Journal of Italian Cinema and Media Studies FILM, RADIO, TELEVISION-

CiteScore

0.40

自引率

50.00%

发文量

期刊介绍： Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.