In 1962, just before the release of the film Mamma Roma of Pier Paolo Pasolini, Rizzoli publishes the script and a series of scene photographs. With its inner dynamism, according to Pasolini’s theoretical reflections, the screenplay will be modified for ‘literary reasons’ and included in Alì dagli occhi azzurri (1965). Following the processing of Mamma Roma with Poesie mondane verses, Diario al registratore and graphic drafts drawn by the author, and comparing both editions, the articles proposes a focus on two peculiarities : the ‘literary part’ of a « struttura che vuol essere altra struttura » and the transmedial dimension of the script, that suggests to study the connection between verbal and visual languages even before the vision of the film.

Una coltre di primule: Mamma Roma tra scrittura e visione

Corinne Pontillo
2018

Abstract

In 1962, just before the release of the film Mamma Roma of Pier Paolo Pasolini, Rizzoli publishes the script and a series of scene photographs. With its inner dynamism, according to Pasolini’s theoretical reflections, the screenplay will be modified for ‘literary reasons’ and included in Alì dagli occhi azzurri (1965). Following the processing of Mamma Roma with Poesie mondane verses, Diario al registratore and graphic drafts drawn by the author, and comparing both editions, the articles proposes a focus on two peculiarities : the ‘literary part’ of a « struttura che vuol essere altra struttura » and the transmedial dimension of the script, that suggests to study the connection between verbal and visual languages even before the vision of the film.
Pier Paolo Pasolini, screenplay, literariness, transmediality, cinema, poetry, Mamma Roma
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.11769/540963
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