Animality in Pier Paolo Pasolini’s Films
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Abstract
This paper studies the problem of animality in three films by the Italian director Pier Paolo Pasolini: Uccellacci Uccellini (Hawks and Sparrows, 1966) Porcile (Pigsty, 1969) and Salò (1975). The figure of the animal is present in these films to mark the limit of the human or to show what is simply out of the human realm. The figure of the animal has in Pasolini’s films an aesthetic (his “cinema of poetry”) as well as a political productivity, which strains the traditional or modern divisions between the human and the animal realms.
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