Pier Paolo Pasolini

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Pier Paolo Pasolini (born March 5, 1922 in Bologna , † November 2, 1975 in Ostia ) was an Italian film director , poet and publicist .

Life

Childhood and youth

Pasolini was born in Bologna in 1922 as the son of the career officer Carlo Alberto Pasolini and the elementary school teacher Susanna Colussi. The rural town of Casarsa della Delizia , where his maternal grandparents lived, was formative for the youngster . There he spent the school holidays and got to know the Friulian country life. The beginnings of his writing endeavors since he was seven years old go back to this time and environment. A volume of poetry in the Friulian language was created early on ( Poesie a Casarsa , 1942).

While studying art history with Roberto Longhi in Bologna , which he gave up because of the Second World War , he dealt primarily with the painting of the Italian Renaissance , especially with Masaccio and Pontormo . These studies should have a lasting influence on Pasolini's later film work.

During the war years, which he and his mother spent in Casarsa, he taught the local children in the room of the grandparents' house that had been set up for teaching. During this time Pasolini began to discover his homosexuality , which he, as he later reported, first felt as a feeling of joy when looking at the back of his knees of boys playing football. The struggle for relationships with the rural boys of the place became for him pleasure and (conscience) torment with the general outlawing of homosexuality. In Casarsa he and his mother learned of the death of his brother Guido on February 7, 1945. As a member of the predominantly Catholic resistance group Brigate Osoppo in its headquarters near Porzus, members of the communist Gruppi di Azione Patriottica , allied with the Yugoslav Titopartisans , were accused of treason captured and shot.

Professional background

After the war, Pier Paolo Pasolini began teaching in Casarsa as a primary school teacher at a state school. Pasolini showed a special pedagogical skill in dealing with the children and young people. He seemed to intuitively sense the issues and problems that moved the adolescents and linked this knowledge of the personal life situation of the students with school-based and didactic objectives. His pedagogical and didactic methods were particularly flexible, variable and action-related. In this way, Pasolini anticipated much of what had been called student-oriented teaching since the 1970s. He quickly won the trust of the children and young people. They enjoyed learning, especially those adolescents who initially showed certain learning difficulties. Through this methodical approach, Pasolini gained general reputation and goodwill in the area. At the same time, political engagement became more and more important for him. In the following years he joined the Communist Party of Italy (KPI). Three of his students accused him of immorality. The accusations turned out to be false. When his homosexuality became known and publicly discussed, he was dismissed from his teaching post despite the expressions of solidarity and petitions from the local population. The KPI closed it, referring to “the pernicious influences of certain ideological and philosophical currents of the various Gide , Sartre and other decadent poets and writers who want to act as progressives , but in reality combine the most shameful aspects of bourgeois depravity “, From their ranks. Since Pasolini no longer had an economic livelihood without his position as a teacher, he went to Rome with his mother in 1950 .

Work as a writer

After initially unemployed and with considerable concern about his mother's loss of social status, Pasolini succeeded in gaining a foothold in Rome , initially through low-paid teaching activities and first freelance writing (including working on scripts for Luis Trenker , Mauro Bolognini and Federico Fellini ). First contacts with intellectuals and artists (including Laura Betti and Alberto Moravia ) were initiated.

In addition, Pasolini always felt drawn to the milieu of the Roman suburbs (borgate) . As before in the rural society of Friuli, he discovered independent cultural traditions and values in the borgate , which differed significantly from the petty-bourgeois ideas of his own environment. He felt a deep sympathy for these simple people in their difficult economic circumstances, and he felt comfortable with them. He developed a keen interest in pointing out and changing social grievances.

His debut novel Ragazzi di Vita (1955) is also set in this milieu. Pasolini used a language that was extremely realistic, even radical, for Italy in the 1950s, a kind of “slang of realistic immediacy”. With Ragazzi di Vita he not only portrayed the vital, harsh, sometimes petty criminal life of young people in the suburbs, he idealized and exaggerated this life. He set a monument for the ragazzi di vita , at the same time Pasolini illuminated the (bourgeois) double standards of Italian post-war society. In addition to recognition, the novel earned him sharp criticism from politics, church and society as well as several legal proceedings.

With his novel Una vita violenta (1959) , Pasolini presented a variation of the socially critical analyzes of young people's living environments in the Roman suburbs . In the meantime, his extensive writing activities, which also included continuous columns for left-wing newspapers, brought him a gradual improvement in his financial and material circumstances. Pasolini strived for this improvement at the same time with a view to his mother and the father who had returned from captivity.

Discovery of the film

In the 1960s, Pasolini discovered more and more the film as a medium for his poetic and socially critical goals. The desired collaboration with the film company Federico Fellinis failed because of its rejection. With Accattone - Who Never Ate His Bread With Tears (1961) and Mamma Roma (1962), Pasolini provided a significant cinematic implementation of his suburban studies, some of which earned him international praise from film critics. In the films he particularly dealt with the grievances of Italian society, with subtle fascist structures and destructive mechanisms in authoritarian systems in general, as well as with the impossibilities / possibilities of interpersonal relationships. His characters are often socially excluded and rebellious. Due to the subjects, the technical execution and the use of amateur actors from the depicted milieu, his early films appear as a (highly independent) contribution to Italian neorealism . His characters oscillate between profanity and transcendentality, and Pasolini consciously stages this dichotomy. In the end, Ettore Garofano, the main actor in Mamma Roma , is elevated to Christ by a repetitive montage and refined lighting. In The First Gospel - Matthew (1964), Jesus is a saint, but also a subproletarian figure. With this film, a slow change begins in Pasolini's cinematic work.

Later film work

From the end of the sixties he no longer deals with stories of the sub-proletariat, but also with upper-class and aristocratic characters. Although Pasolini repeatedly emphasizes that he hates the bourgeoisie so much that he does not want to deal with them artistically, the film Teorema - Geometry of Love , is made in 1968 about a bourgeois family that breaks up after a visit from a charismatic guest. In addition, he deals with myths and legends of the occidental, but also of the Arab cultural area: Edipo Re - bed of violence (1968), Medea (1969/1970) and “Trilogy of Life”, consisting of Decameron (1970), Pasolini's maddened stories (1972) and Erotic Stories from 1001 Nights (1974).

Pasolini's last feature film was made in 1975, the year he died: The 120 Days of Sodom , moves the plot of de Sade 's novel of the same name from 18th century France to the fascist republic of Salò at the end of World War II. Because of the explicit depiction of sadistic violence, the work is one of the most controversial in film history and is still banned in many countries.

Journalistic activity

In his extensive journalistic work, Pier Paolo Pasolini analyzed and problematized the decline of social and political structures and institutions as he observed it in Italian society in the sixties and seventies. The main feature of this process of decline is the disappearance of the culture of the people as the basis of social progress and the resulting lack of values ​​and content of human coexistence. The trigger and main force of this process is a new form of fascism , which - unlike the pre-war fascism - is internalized by the individual and finds its meaning in the eradication of otherness and cultural differences. For him, its manifestations are the conformist adaptation to the development model of the new capitalism and the appearance of the corresponding petty-bourgeois type of person as the only model worth emulating. This fascism is a phenomenon that permeates all parts of society: neither the generation of 1968 nor the sub-proletariat of the country and the big cities are spared .

In 1972, about two years after the murder of the Italian journalist Mauro De Mauro , Pasolini began researching and writing for his unveiling novel Petrolio (petroleum), which he had never published. The chapter on the murder of Enrico Mattei , a top Italian executive at the Eni oil company , was later stolen from his studio. Years later, it reappeared when the former Berlusconi confidante and Mafia member Marcello Dell'Utri publicly confessed to having read parts of Petrolio's manuscripts .

Pasolini's assassination

Pasolini's grave in the cemetery of Casarsa della Delizia

On November 2, 1975, Pasolini was murdered on the night of All Saints 'Day on All Souls ' Day . He had dinner with a friend that evening, but his body was found on Ostia beach , not far from Rome. The criminal investigations revealed that Pasolini was run over several times with his own car, an Alfa Romeo 2000 GT Veloce , with which he disappeared during the night. The arte documentation The file Pasolini , however, no skid marks were found on the corpse (2013), according to. Rather, the injuries pointed to a blunt metal object as a weapon. Many traces of the crime scene were destroyed by improper investigative work. In 1979 the hustler Pino Pelosi, who was seventeen at the time of the murder, was sentenced to nine years and seven months for the murder. He confessed and served his sentence until 1982. Pasolini was buried in Friuli , in the cemetery of Casarsa della Delizia .

The murder of Pasolini has not yet been conclusively resolved. In 2005, Pelosi said in contradiction to his initial confession that he had killed Pasolini on the orders of various unidentified clients. Pelosi stated that he and his family were threatened with death at the time if he incriminated the real clients in the process. Also in 2005, Pelosi completely retracted his confession to journalists, stating that strangers had killed Pasolini.

Many suspicions and speculations were voiced, not a single one could be proven. In the years that followed, friends and members of Pier Paolo Pasolini's family spread the thesis that he had been the victim of right-wing extremists. According to rumors, while writing the unfinished novel Petrolio , Pasolini came across the criminal machinations of the state oil company ENI and therefore had to be eliminated. A year before his death, Pasolini published in newspaper articles forebodingly that a link between Italian politics and organized crime would have unpopular communists murdered by criminal henchmen.

As early as 1975 Oriana Fallaci wrote in the Italian weekly magazine L'Europeo that Pasolini had been killed by a group of right-wing extremists. Because Fallaci refused to give her witness , who refused to testify under any circumstances, she was sentenced to four months in prison in 1978. She did not have to serve the sentence through an amnesty .

During the presentation of an international signature campaign by 700 authors - including Andrea Camilleri , Dacia Maraini and Bernard-Henri Lévy - in June 2007, the Roman mayor Walter Veltroni demanded that the judiciary should re-examine the case. Rome's former head of the cultural affairs department, Gianni Borgna, pointed out that the convicted perpetrator had changed his information too often to be credible. Pelosi's clothing showed no traces of blood from the blood-soaked Pasolini. Sergio Citti , a close friend of Pasolini's who died in 2005, stated in 2005 that on the day of his death, Pasolini had tried to get back the stolen raw material from his film Salò or The 120 Days of Sodom , and that he was the material through the promise of an unknown caller to get back there, lured to Ostia.

The investigations into the Pasolini case actually resumed in 2010. In March 2015, the responsible judge, Maria Agrimi, decided to close the files in the Pasolini case again, as the court did not believe that there was any reliable new evidence: DNA traces of at least five male people could be detected on the evidence , an assignment to certain people and an unequivocal chronological classification before or after the crime could not be provided.

Pino Pelosi died on July 20, 2017 after a long illness. He leaves unanswered questions.

Works

Movies

script

as an actor

Poems (selection)

  • Poetry a Casarsa , 1942.
  • I Pianti , 1946.
  • Tal còur di un frut , (Friulian poems), 1953.
  • La meglio gioventù , 1954.
  • Le ceneri di Gramsci , 1957. (German: Gramsci's Asche . Translated by Toni and Sabina Kienlechner, Piper , Munich 1980)
  • L'usignolo della Chiesa Cattolica , 1958 (German: The Nightingale of the Catholic Church . Translated by Toni and Bettina Kienlechner, Piper, Munich 1989)
  • La religione del mio tempo , 1961.
  • Poesia in forma di rosa , 1964.
  • Poetry dimenticate , 1965.
  • Trasumanar e organizzar , 1971.
  • La nuova gioventù , 1975.
  • Le Poesie (anthology), 1975.
  • Poesie e pagine ritrovate (posthumously, edited by Andrea Zanzotto and Nico Naldini), 1980.
  • Under the open sky. Selected poems . Translated by Toni and Sabine Kienlechner, Wagenbach , Berlin 1982.
  • Who is me (a long poem), trans. by Peter Kammerer, hochroth Verlag , Berlin 2009.

Critical and Political Writings

  • Passione e ideologia (1948-1958). Saggi , 1960 (German: a selection: literature and passion. About books and authors . Translated by Annette Kopetzki, Wagenbach, Berlin 1989.)
  • Empirismo eretico , 1972 (German: Heretic experiences. Writings on language, literature and film . Translated, commented and with an afterword by Reimar Klein, Hanser, Munich 1979.)
  • Scritti corsari , 1975 (German: Freibeuterschriften. Essays and polemics about the destruction of the individual by the consumer society . Translated by Thomas Eisenhardt, Wagenbach, Berlin 1975; see also the journal Freibeuter .)
  • Lettere luterane , 1976 (German: Luther letters . Articles, reviews, polemics . Translated by Agathe Haag, Folio Verlag, Vienna / Bozen 1996.)
  • Il caos , 1979 (German: Chaos. Against terror . Translated by Agathe Haag and Renate Heimbucher, edited by Agathe Haag, Medusa, Berlin 1981.)

Novels and short stories

  • Ragazzi di vita , 1955. (German: Ragazzi di vita . Translated by Moshe Kahn , Wagenbach, Berlin 1990.)
  • Una vita violenta , 1959. (German: Vita Violenta . Translated by Gur Bland , Piper , Munich 1963.)
  • Il sogno di una cosa , 1962. (German: The dream of a thing . Translated by Hans-Otto Dill, Volk und Welt, Berlin [GDR] 1968, reprinted by Medusa, Berlin [West] 1983.)
  • Alì dagli tatting azzurri . (various stories and dialogues, including the film texts for Accattone , Mamma Roma and La ricotta ), 1965 (German: Ali with blue eyes . Translated by Bettina Kienlechner, Piper, Munich 1990.)
  • La Divina Mimesis , 1975. (German: Barbaric memories . Translated by Maja Pflug, Wagenbach, Berlin 1983.)
  • Teorema , 1968. (German: Teorema or the bare feet . Translated by Heinz Riedt, Piper, Munich 1969, new edition 1980.)
  • Amado mio, preceduto da Atti impuri , posthumously 1982. (German: Amado Mio. Two novels about friendship . Translated by Maja Pflug, Wagenbach, Berlin 1984)
  • Petrolio , Romanfragment, posthumously 1992. (German: Petrolio . Translated by Moshe Kahn, Wagenbach, Berlin 1994, ISBN 3-8031-2287-2 ; New edition 2015, ISBN 978-3-8031-2742-6 .)
  • Storie della città di Dio , posthumously 1995. (German: Stories from the City of God . Translated by Annette Kopetzki, Wagenbach, Berlin 1996, ISBN 3-8031-1161-7 .)
  • Little piece of the sea . Translated by Maria Fehringer. Folio Verlag, Vienna / Bozen 2018, ISBN 978-3-85256-671-9 .

Text-illustrated books

  • Rome, other city. Stories and poems selected by Annette Kopetzki and Theresia Prammer. With photographs by Herbert List and an afterword by Dorothea Dieckmann. CORSO, Hamburg 2010, ISBN 978-3-86260-001-4 .
  • The long road made of sand , translated from the Italian by Christine Gränke and Annette Kopetzki, with an afterword by Peter Kammerer . Photos and diary notes from a trip on the coast around Italy. 2nd Edition. Edel , Hamburg 2009, ISBN 978-3-941378-36-0 .

Plays and scripts

  • Il padre selvaggio , 1975 (screenplay for an unrealized film, 1964)
  • I Turcs tal Friul , 1976 (German: Die Türken in Friaul . Bilingual edition, translation from Friulian by Hans Kitzmüller and Horst Ogris, Wieser, Klagenfurt 2003. The text is from 1944.)
  • San Paolo , 1977 (German: Der Heilige Paulus . Ed .: Reinhold Zwick and Dagmar Reichardt . Schüren Verlag , Marburg 2007. Annotated and with a detailed afterword provided German translation of Pier Paolo Pasolini's script for an unrealized film project about Saint Paul, 1968)
  • Affabulazione / Pilade , 1977 (German: Affabulazione or Der Königsmord / Pylades , German: von Heinz Riedt, Fischer , Frankfurt am Main 1971, TB 1984)
  • Porcile / Orgia / Bestia da Stile , 1979 (German: Orgie / Der Schweinestall . Translated by Heinz Riedt, Fischer TB , Frankfurt 1984)

Drawings and paintings

Pasolini as a subject of art

Pasolini, drawn by the Italian artist Graziano Origa , 1976
Painting Homage to Pasolini by Václav Šprungl , 1992

Pasolini was friends with the Austrian painter and sculptor Alfred Hrdlicka for a long time . Hrdlicka processed his shock at the murder of Pasolini in numerous lithographs, paintings and sculptures.

Musical homages to Pasolini

  • The 1995 song Farmer in the City by Scott Walker was released on the LP Tilt and is subtitled Remembering Pasolini . The enigmatic text was created with the help of a line of poetry by Pasolini.
  • The 2007 double album Re: Pasolini by pianist Stefano Battaglia is inspired by the life and work of Pasolini. The front picture shows a still photo from the film The 1st Gospel - Matthew .

Literature about Pasolini (selection)

- Alphabetical -

  • Akademie der Künste, Berlin : Pier Paolo Pasolini: "... with the weapons of poetry ...". Catalog of the exhibition from September 15 to October 23, 1994, ISBN 3-88331-981-3 .
  • Alternative: Pasolini - comrade non-comrade. In: Alternative. 22nd year, No. 125/126, June 1979, Alternative Verlag, Berlin.
  • Alfons Maria Arns: PP Pasolinis Salò or the 120 days of Sodom. In: The Forbidden Image. Taboo and society in film. Joint work of Protestant journalism (GEP) u. Evangelical Academies Arnoldshain u. Kurhessen-Waldeck (ed.). Frankfurt am Main 1986, pp. 56-63 (Arnoldshainer Film Discussions, Vol. 3).
  • Alfons Maria Arns: Passions and Grotesques. PP Pasolinis Salò or the 120 days of Sodom. In: Filmfaust, H. 58, March / April 1987, pp. 38–47 (reprinted in: PP Pasolini. Staatstheater Kassel (ed.). Kassel 1987, pp. 171–185.)
  • Jordi Balló (Ed.): Pasolini Roma. Exhibition catalog. Texts: Pier Paolo Pasolini. Prestel Verlag , Munich 2014, ISBN 978-3-7913-5399-9 .
  • Laura Betti , Michele Gulinucci: Pier Paolo Pasolini. Le regole di un 'illusione. I film, il cinema . Associazione Fondo Pier Paolo Pasolini , Roma 1991.
  • Marijana Erstić, Christina Natlacen (eds.): Pasolini - Haneke. Cinematic orders of violence (= Navigations. Journal for Media and Cultural Studies. Vol. 14, No. 1). 2014, 130 pages, ISSN 1619-1641 ( full text available ).
  • Dominique Fernandez : Dans la main de l'ange. Editions Grasset, Paris 1982, ISBN 2-246-28201-2 . (English: In the Angel's Hand ), novel about Pasolini, awarded the Prix ​​Goncourt .
  • Adelio Ferrero: Il cinema di Pier Paolo Pasolini. Since Accattone a Salò secondo Pasolini. Marsilio Editori, Venezia 1977.
  • Giorgio Galli: Pasolini - the dissident communist. On the political topicality of Pier Paolo Pasolini . Translated and introduced by Fabien Kunz-Vitali. Laika-Verlag, Hamburg 2014, ISBN 978-3-944233-16-1 .
  • Naomi Greene: Pier Paolo Pasolini. Cinema as heresy. Princeton University Press, New Jersey 1990.
  • Bernhard Groß: Pier Paolo Pasolini. Figurations of Speech . Verlag Vorwerk 8, Berlin 2007, ISBN 978-3-940384-00-3 .
  • Peter W. Jansen , Wolfram Schütte (Ed.): Pier Paolo Pasolini . Film series 12. Hanser , Munich 1977.
  • Giacomo Jori: Pasolini. Einaudi, Torino 2001, ISBN 88-06-15646-2 , (with video cassette).
  • Christoph Klimke (Ed.): Power of the Past. On motifs from Pier Paolo Pasolini's films . Fischer , Frankfurt am Main 1988.
  • Christoph Klimke: Face the scandal. Pier Paolo Pasolini . Elfenbein Verlag , Berlin 2015, ISBN 978-3-941184-49-7 .
  • Burkhart Kroeber (ed.): Pier Paolo Pasolini: The heart of reason. Poems, stories, polemics, pictures . Wagenbach , Berlin 1986. (German TV , 1991)
  • Fabien Kunz-Vitali: From the disappearance of the fireflies: to Pier Paolo Pasolini. Laika, Hamburg 2015
  • Manfred Lentzen : Italian poetry of the 20th century. From the avant-garde of the first decades to a new inwardness. (= Analecta Romanica , volume 53). Klostermann, Frankfurt am Main 1994, ISBN 3-465-02654-3 , pp. 269-287.
  • Nico Naldini : Nei campi di Friuli. La giovinezza di Pasolini. 1984. (German: In the fields of Friauls. Pasolini's youth . Translated by Maria Fehringer and Hermann Seidl. Commedia e Arte, Stuttgart 1987, ISBN 3-924244-07-3 .)
  • Nico Naldini: Pier Paolo Pasolini. Una biografia. 1986. (German: Pier Paolo Pasolini. A biography. Translated by Maja Pflug, Wagenbach. Berlin 1991; updated new edition, 2012, ISBN 978-3-8031-2679-5 )
  • Nico Naldini (Ed.): Pier Paolo Pasolini: Lettere. 1989. (German: Pier Paolo Pasolini: I am a force of the past. Letters. Translated by Maja Pflug. Wagenbach, Berlin 1991, ISBN 3-8031-3560-5 .)
  • Carsten Schmieder (Ed.): Pasolini and the topicality of the political . Hybris Verlag, Berlin 2015, ISBN 978-3-939735-03-8 .
  • Otto Schweitzer: Pier Paolo Pasolini. With testimonials and photo documents. 4th edition. Rowohlt , Reinbek 2000, ISBN 3-499-50354-9 .
  • Bernhart Schwenk, Michael Semff (Ed.): PPP - Pier Paolo Pasolini and death . Exhibition catalog. Hantje Cantz, Ostfildern-Ruit 2005, ISBN 3-7757-1632-7 .
  • Klaus Semsch: Literature and Ideology. Marxist worldview and poetic creativity in Pier Paolo Pasolini's lyric work. (= Empirismo eretico, Pier Paolo Pasolini , 1). The Blue Owl, Essen 1989, ISBN 3-89206-273-0 .
  • Enzo Siciliano : Vita di Pasolini. 1978. (German: Pasolini. Life and work. Translated by Christel Galliani. Beltz & Gelberg , Weinheim 1980)
  • Giuseppe Zigaina: Pasolini e la morte. Mito, alchimia e semantica del “nulla lucente”. 1987. (German: Pasolini and death. Myth, alchemy and semantics of the "shiny nothing". Translated by Bettina Kienlechner, Piper, Munich 1989)
  • Giuseppe Zigaina: Pasolini e la morte. 2005. (German: Pasolini and death. A purely intellectual thriller . Translated by Klaudia Ruschkowski. German Filmmuseum , Frankfurt am Main 2005, ISBN 3-88799-074-9 .)
  • Reinhold Zwick : Pasolini's Children: Between Gospel and Third World. In: Stefan Orth , M. Staiger, J. Valentin (Hrsg.): Children in the cinema. Religious dimensions. (= Film and Theology , Volume 6). Schüren , Marburg 2004, ISBN 3-89472-390-4 , 56-83.

Films about Pasolini

Published during Pasolini's lifetime

Published posthumously

  • “Pity has died.” Pier Paolo Pasolini and Italy. Documentary film, Federal Republic of Germany, 1977, 44 minutes, script and director: Ebbo Demant , production: Südwestfunk , first broadcast: ARD , January 2, 1978, film data from Filmdienst .
  • Pier Paolo Pasolini - Approaching a Privateer. (It .: A futura memoria. Pier Paolo Pasolini. ). Documentary, Italy, FR Germany, 1985, 116 minutes, script and direction: Ivo Barnabò Micheli , production: Antea Coop. and Westdeutscher Rundfunk , first broadcast on German television: WDR , November 27, 1985. Award: Grimme Prize with silver in 1986 .
  • Vie et mort de Pier Paolo Pasolini. Feature film, France, 2004, 105 min., Directors: Cyril Legann, Antoine Soltys. Film adaptation of the play of the same name by Michel Azama.
  • The gentle radical. Pier Paolo Pasolini. Documentary, Germany, 2005, 45 min., Script and direction: Henning Burk , Bettina Oberhauser, Boris von Brauchitsch , production: 3sat , series: Kulturzeit extra, first broadcast: November 5, 2005, summary of 3sat.
  • Pasolini's last words. (OT: Pasolini's Last Words. ) Essay film , USA, 2012, 58 min., Script and director: Cathy Lee Crane, DVD: Edition Salzgeber , summary by Edition Salzgeber.
  • The Pasolini file. Documentary with animations, Germany, 2013, 52 min., Script and director: Andreas Pichler , production: Gebrüder Beetz Filmproduktion, arte , ZDF , series: Die Kulturakte , first broadcast: arte, October 16, 2013. With Dacia Maraini , Peter Kammerer , Guido Calvi et al. a., table of contents by ARD.
  • Pasolini - Passion Roma. (OT: Pasolini, la passion de Rome. ) Documentary, France, Italy 2013, 55 min., Script and director: Alain Bergala, production: Zadig Productions, Cinémathèque française , arte France, first broadcast: January 22, 2014. With Bernardo Bertolucci , Ninetto Davoli , Laura Betti and others a., table of contents by ARD.
  • Pasolini . Feature film, France, Belgium, Italy, 2014, 87 min., Screenplay: Maurizio Braucci, director: Abel Ferrara , production: Capricci Films, Urania Pictures, Tarantula, Dublin Films, Arte France Cinéma. With Willem Dafoe as Pasolini.
  • Pier Paolo Pasolini's travels through Italy. Documentary, Germany, 2018, 52:26 min., Script and director: Claus Bredenbrock, production: Florianfilm, WDR , arte , first broadcast: October 21, 2018 on arte, synopsis by ARD , online video available until January 18, 2019 .

Exhibitions

  • September 15 - October 23, 1994: Pier Paolo Pasolini: "... with the weapons of poetry ..." Akademie der Künste, Berlin
  • November 17, 2005 - February 5, 2006: PPP - Pier Paolo Pasolini and the death . Pinakothek der Moderne , Munich
  • June 14, 2009 - September 6, 2009: Pier Paolo Pasolini - Qui je suis . Center Dürrenmatt , Neuchâtel.
  • May 2013 - October 2015: Pasolini Roma . Exhibition in the CCCB, Barcelona (May to September 2013), in the Cinémathèque française , Paris (October 2013 to January 2014), in the Palazzo delle Esposizioni , Rome (March to June 2014), in the Martin-Gropius-Bau , Berlin (September 2014 until January 2015) and in the San Telmo Museoa, San Sebastian (June to October 2015).

Web links

Commons : Pier Paolo Pasolini  - album with pictures, videos and audio files
Wikiquote: Pier Paolo Pasolini  - Quotes

Individual evidence

  1. ↑ cf. O. Schweizer: Pier Paolo Pasolini. Reinbek 1991, p. 14.
  2. ↑ Picture of Pasolini's brother Guido on Flickr .
  3. ↑ cf. O. Schweizer: Pier Paolo Pasolini. Reinbek 1991, p. 23 ff.
    Enzo Siciliano : Pasolini. Life and work. Weinheim / Berlin 1994, p. 98 ff.
  4. ↑ Kindler's New Literature Lexicon : Ragazzi di vita , Volume 12, Munich 1988, p. 1002.
  5. ↑ Nina Merli: Turning point in the murder case of Pier Paolo Pasolini. In: Tages-Anzeiger , December 13, 2011.
  6. ↑ cf. Enzo Siciliano: Pasolini. Life and work. Weinheim / Berlin 1994, p. 496.
  7. ^ Enzo Siciliano: Pasolini. Life and work. Weinheim, Berlin 1994, p. 496.
  8. ^ Andreas Pichler : The Pasolini file. In: ARD , 2013.
  9. ↑ Photos: The grave of Pier Paolo Pasolini. In: knerger.de .
  10. ^ A b DW: Authors call for new investigations into the Pasolini murder. In: Die Welt , June 21, 2007.
  11. ^ Süddeutsche Zeitung: Italy: Murder of director Pier Paolo Pasolini 1975. Retrieved on May 1, 2020 .
  12. ↑ Pasolini ucciso da due motociclisti? November 14, 1975, reference in Google Books; E 'stato un massacro November 21, 1975, reference in Google Books .
  13. ↑ Fallaci: Condannata per reticenza durante processo Pasolini , adnkronos.com ; Fallaci based her refusal to testify on the journalistic professional secrecy according to Art. 2 of Law No. 69 of February 3, 1963, Ordinamento della professione di giornalista , La Giustizia Penale , Volume 87, 1982, p. 2597 , in: Google Books .
  14. ^ Mattia Feltri: Oriana Fallaci: la mia veritá negata sulla morte di Pasolini. In: La Stampa , March 12, 2005, (Italian, Flash Player required, accessed July 3, 2015).
  15. ↑ Pasolini, dopo 5 anni nessuna verità. Sull'omicidio cala il sipario. In: Corriere della Sera , March 25, 2015, (Italian, accessed July 3, 2015).
  16. ↑ Convicted murderer of director Pasolini has died. In: orf.at , July 21, 2017, accessed July 21, 2017.
  17. ↑ Wilfried Hippen: Pasolini treasure raised. “Naples, the anger rises.” In: taz , May 21, 2014.
  18. ↑ Fabian Tietke: counter-investigation. Pasolini and Lotta continua - a re-reading. In: Cargo , No. 24, December 18, 2014, pp. 70–73, miniature view.
  19. ↑ Joachim Gatterer, Jessica Alexandra Micheli (ed.): Ivo Barnabò Micheli. Poetry of opposites. Cinema radicale. Folio-Verlag, Vienna, Bozen 2015, p. 116.
  20. ↑ Interview with Cathy Lee Crane: Pasolini's Body. In: The Brooklyn Rail , January 13, 2013, (PDF).
  21. ↑ Olivier Père: Abel Ferrara talks about "Welcome to New York" and "Pasolini". ( Memento from September 24, 2015 in the Internet Archive ). In: arte , May 20, 2014.
  22. ↑ Angela Oster: “This is just a fucking movie. So take it off! ”A review journey through Abel Ferrara's film 'Pasolini', on the occasion of the 40th anniversary of the death of Pier Paolo Pasolini. In: Romance Studies , No. 2, 2015, pp. 233–250.
  23. ^ Exhibition: Pier Paolo Pasolini - Qui je suis. In: kultur-online.net, September 4, 2009.
  24. ↑ Pasolini Roma. In: Cinémathèque française , (French).
  25. ↑ Thomas Steinfeld : Crossways of a Heretic: He attacked Pius XII., But also the rebellious students of 1968 and died a violent death in 1975: Now a major exhibition in Rome brings Pier Paolo Pasolini back to life. In: Süddeutsche Zeitung , June 2, 2014, p. 9, beginning of the article. A tribute to Pier Paolo Pasolini; According to Steinfeld, Pasolini's reference to the figure of Jesus Christ was central to his self-portrayal and others.
  26. ^ Andreas Kilb : Pasolini exhibition in Berlin. And his mother gently stroked his hair. In: FAZ of September 11, 2014, p. 14, with photo series.
    Gregor Dotzauer : Pasolini exhibition in the Martin-Gropius-Bau. Paradise on the outskirts of Rome. In: Tagesspiegel , September 11, 2014.
personal data
SURNAME Pasolini, Pier Paolo
BRIEF DESCRIPTION Italian film director and poet
DATE OF BIRTH March 5, 1922
PLACE OF BIRTH Bologna
DATE OF DEATH 2nd November 1975
Place of death Ostia