Reanimating Saint Paul: From the Literary to the Cinematographic Stage
In several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, "a work complete and finished in itself." In the first part of this essay, I will reflect on the concept of the...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publié: |
[2019]
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| Dans: |
Biblical interpretation
Année: 2019, Volume: 27, Numéro: 4/5, Pages: 533-548 |
| Sujets / Chaînes de mots-clés standardisés: | B
Paulus, Apostel, Heiliger
/ Réception <scientifique>
/ Pasolini, Pier Paolo 1922-1975
/ Film
/ Sémiotique
/ Adaptation
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| Classifications IxTheo: | CD Christianisme et culture HC Nouveau Testament |
| Sujets non-standardisés: | B
Pasolini
B Film B Semiotics B screenplay B Adaptation |
| Accès en ligne: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Résumé: | In several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, "a work complete and finished in itself." In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini's writings on the ontological status of the screenplay as a "structure that wants to be another structure." The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites - or perhaps even forces - its reader to imagine, to visualize, the film it describes. Pasolini's ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul. |
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| ISSN: | 1568-5152 |
| Contient: | Enthalten in: Biblical interpretation
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| Persistent identifiers: | DOI: 10.1163/15685152-02745P05 |
