Wednesday, November 08, 2006

Collected Notes on Pasolini's Porcile

A lot of people have been asking me about Pasolini's Pigsty, wondering whether I'm going to write a book about it, or at least a dissertation. No to both, sadly, but I've decided to list all of my blog posts here for easy perusal, and for all those internet searches on the subject in the years to come.

Initial Notes on Pasolini's Porcile

In which I attempt to lay out some of the problems and questions raised by the filmmaker in his minor masterpiece from 1969, and lay the groundwork for a viewing of the film with the help of Rene Girard's work The Violence and the Sacred.

Further Notes on Pasolini's Porcile

One uppity question about Pasolini's use of dogs in a crucial scene from Pigsty, followed by what I hope is not an overly labored attempt to see the film through that 'Girardian lens'. Plus a comment by one Mr. McCain, in which he wonders whether the saints should perhaps be brought to bear on this mighty struggle towards a true interpretation.

Still More Notes on Pasolini's Porcile

A quotation from Mr. Pasolini from 1967, two years prior to the making of Pigsty, in which he himself attempts to frame his life in terms of the question that has so beset men of every temperment in every age, and in the ages to come. Plus, what might well be a labored attempt to see the film through that Girardian lens. And what's more, a comment from Mr. Red Pants with referrals to several other films, particularly Hammer's Vampire Circus, which upon further reflection might prove to be a key to understanding that very curious nexus of Catholicism, Violence, and especially the semiotics of sarcophagy, drinking blood, and the portrayal of each in film. Curiously, nay, mysteriously, this post appeared on All Soul's Day, when perhaps such crucial questions about the key issues of our time (any time!) should be aired in full cognizance of their true context.

Last Notes on Pasolini's Porcile

In this fourth post I final undertake an interpretation of the other half of the film, the modern half, the three previous entries being devoted almost entirely to the pre-industrial sequences of the film. Two long soliloquies are excerpted here, studiously copied down by me, by hand, frame by frame, so that you may read them, said soliloquies being available nowhere else on the internet. Plus, at last, an attempt by me at explaining the title of the movie and its last chilling moments, with special attention paid towards an understanding of the sacred and profane as understood in Hebrew culture (that unique sociological entity which may truly said to be sub specie aeternitatis), an understanding which, I might add, I have to wonder whether Signor Pasolini himself would have been able to intuit but for the miracle of his art.


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