La profanation du montage: Le montage/mort et l’infini plan-séquence comme allégorie chez Pasolini

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)

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:

20 Jul 2017 16:25

BORIS DOI:

10.7892/boris.96570

URI:

https://boris.unibe.ch/id/eprint/96570

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