In the artistic research of Pasolini, it is easy to recogninze a specific interest in the interplay between images and words. Pasolini’s experimental documentary La rabbia (“The anger”, 1963) develops a special method of refraction between images and sound commentary that still goes unnoticed by film scholars. This paper aims to invetistigate a serie of patterns of visual rhetoric such as examples of a so called 'poetical cut'.
Una rabbia non catalogabile. Pasolini e il montaggio di poesia
Rizzarelli, Maria
2017-01-01
Abstract
In the artistic research of Pasolini, it is easy to recogninze a specific interest in the interplay between images and words. Pasolini’s experimental documentary La rabbia (“The anger”, 1963) develops a special method of refraction between images and sound commentary that still goes unnoticed by film scholars. This paper aims to invetistigate a serie of patterns of visual rhetoric such as examples of a so called 'poetical cut'.File in questo prodotto:
| File | Dimensione | Formato | |
|---|---|---|---|
|
rizzarelli_pasolini_larabbia_engramma 150-2.pdf
accesso aperto
Tipologia:
Versione Editoriale (PDF)
Dimensione
5.14 MB
Formato
Adobe PDF
|
5.14 MB | Adobe PDF | Visualizza/Apri |
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
