Hildebrandt, Toni (2017). La profanation du montage: Le montage/mort et l’infini plan-séquence comme allégorie chez Pasolini. ThéoRèmes, 2017(10), pp. 1-15. IRSE
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The essay investigates the connections between, on the technical side, the sequence-shot and montage, and, on the historical-philosophical side, everyday life and world politics, from the standpoint of a profanation capable of unseating power, and with a focus on Pasolini’s only experimental film, La sequenza del fiore di (1968). This short film not only has a special status within Pasolini’s filmography, it also marks a critical turning point from a tragic to a pessimistic/comic tone in his profanatory cinema. The essay also reveals an unexpected reception of Heidegger, filtered by Karel Kosik’s Heidggerian Marxism and a Benjaminian conception of the profane erected on the idea of happiness.
Item Type: |
Journal Article (Original Article) |
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Division/Institute: |
06 Faculty of Humanities > Department of Art and Cultural Studies > Institute of Art History > Contemporary Art 06 Faculty of Humanities > Department of Art and Cultural Studies > Institute of Art History |
UniBE Contributor: |
Hildebrandt, Toni |
Subjects: |
700 Arts |
ISSN: |
1664-0136 |
Publisher: |
IRSE |
Language: |
French |
Submitter: |
Toni Hildebrandt |
Date Deposited: |
20 Jul 2017 16:25 |
Last Modified: |
06 Jan 2024 17:53 |
BORIS DOI: |
10.7892/boris.96570 |
URI: |
https://boris.unibe.ch/id/eprint/96570 |
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