| Popis: |
The essay discusses the effects produced by Pasolini���s use of the author���s voice, an aspect of his practice that has not previously been studied. In his cinema, Pasolini���s voice changes according to the function of his presence. The use of voice is part of Pasolini���s creative process, and he treats it just as he does a manipulable image. When he presents himself as the author, as in Appunti per un���Orestiade africana (1970) and Comizi d���amore (1963), the audience hears his real voice. When he plays a character in a fictional narrative, as in the case of Giotto���s pupil and Chaucer, his voice is dubbed. In Edipo re (1967), where Pasolini played the apparently marginal role of the High Priest, dubbing is also far from a random aesthetic element. Pasolini���s use of dubbing can in fact be traced to specific practices of authorial control. In La sequenza del fiore di carta (1969), for example, the author���s voice represents his epistemic authority; in Love Meetings, it is a subtle and subversive queer intervention. |
