LEADER 03597nam 2200553 450 001 9910827550203321 005 20200520144314.0 010 $a0-231-54270-4 024 7 $a10.7312/anno18030 035 $a(CKB)3710000001022510 035 $a(StDuBDS)EDZ0001982883 035 $a(DE-B1597)481776 035 $a(OCoLC)953258550 035 $a(OCoLC)979739689 035 $a(DE-B1597)9780231542708 035 $a(MiAaPQ)EBC4775016 035 $a(Au-PeEL)EBL4775016 035 $a(CaPaEBR)ebr11326472 035 $a(CaONFJC)MIL989461 035 $a(EXLCZ)993710000001022510 100 $a20170118h20172017 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aPier Paolo Pasolini $eperforming authorship /$fGian Maria Annovi 210 1$aNew York :$cColumbia University Press,$d2017. 210 4$d©2017 215 $a1 online resource $cillustrations (black and white) 225 1 $aColumbia scholarship online 300 $aPreviously issued in print: 2017. 311 $a0-231-18030-6 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction: Death -- $t1. Theater -- $t2. Dante -- $t3. Celebrity -- $t4. Self-Portrait -- $t5. Acting -- $t6. Voice -- $tEpilogue: Body -- $tNotes -- $tBibliography -- $tIndex 330 $aBefore his mysterious murder in 1975, Pier Paolo Pasolini had become famous-and infamous-not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship.Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author. 410 0$aColumbia scholarship online. 606 $aPERFORMING ARTS / Individual Director (see also BIOGRAPHY & AUTOBIOGRAPHY / Entertainment & Performing Arts)$2bisacsh 615 7$aPERFORMING ARTS / Individual Director (see also BIOGRAPHY & AUTOBIOGRAPHY / Entertainment & Performing Arts). 676 $a858/.91409 700 $aAnnovi$b Gian Maria$01596687 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910827550203321 996 $aPier Paolo Pasolini$93918149 997 $aUNINA