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Pasolini and Third World hunger: an approach to Cinema Novo through 'La ricotta'

Elduque, A. (2016) Pasolini and Third World hunger: an approach to Cinema Novo through 'La ricotta'. Journal of Italian Cinema and Media Studies, 4 (3). pp. 369-385. ISSN 20477368

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To link to this item DOI: 10.1386/jicms.4.3.335_7


Among the links between Pier Paolo Pasolini and Brazilian Cinema Novo, one of the most inspiring is the political approach to hunger and consumption. In this text, I analyse this topic to look at how some of the aesthetic ideas in Pasolini’s La ricotta (1963) can also be found in some of the most important films of Cinema Novo. In 'La ricotta' (1963), the irresistible need to eat of a subproletarian interacts and clashes with his responsibilities as an actor in a movie version of the Passion of Christ, so that the film creates a complex network of relations between film shooting, social differences, art, hunger, consumption, time and light, which turns the film set into a space for displaying political relations, differences, exploitation and revolution. The correspondences between these concepts and some aggression techniques of Cinema Novo are numerous and confirm the capacity of Pasolini’s film to project ideas on cinema and politics beyond its particular production context.

Item Type:Article
Divisions:Arts, Humanities and Social Science > School of Arts and Communication Design > Film, Theatre & Television
ID Code:65671
Uncontrolled Keywords:Pier Paolo Pasolini La ricotta Cinema Novo Glauber Rocha hunger consumption political film film production
Additional Information:This text is the result of a research carried out in the Universitat Pompeu Fabra with the funding from the Commission for Universities and Research of DIUE (Generalitat de Catalunya) and the European Social Fund. I would like to thank Fran Benavente for his supervision and Xavier Pérez, Àngel Quintana and Alberto Ruiz de Samaniego for their suggestions.


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