Posthuman identity and the human‐animal divide in Pier Paolo Pasolini’s The Hawks and the Sparrows and Pigsty

In this article, Ferrara puts forward the first analysis of Pier Paolo Pasolini’s films The Hawks and the Sparrows (1966) and Pigsty (1969) through the lens of posthumanist theory. She contends that by placing animal characters (raven and pigs) in close interaction with humans, Pasolini encouraged viewers to explore and overcome the human‐animal divide. In doing so, he aimed to expose the faulty binary premises of Marxist ideology and construct a posthumanist identity that recognized the illusory separation between body and mind, and between the human and its related others. Drawing on concepts such as Marchesini’s ‘mimesis’, Cronin’s ‘tradosphere’, Nancy’s ‘co-ontology’ and Braidotti’s ‘becoming animal’, this article shows how Pasolini considers an exit from anthropocentrism and human exceptionalism via trans-species solidarity. Eventually, in Pigsty, animality turns into a metaphor for all alterity. As humans are silenced by pigs, a new powerful language of ‘otherness’ gives birth to the posthuman human.