The Canterbury Tales (DVD)

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The Canterbury Tales (DVD)

The Canterbury Tales (DVD)

RRP: £5.99
Price: £2.995
£2.995 FREE Shipping

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Chaucer and his tales are cited, rather than represented, which is equally the case in Pasolini’s films that cite myth: Edipo re (1967), Medea (1970), Porcile (1969), Il Vangelo secondo Matteo (1964), (which Pasolini noted was his film closest to Il Decameron [1970]). Il fiore delle mille e una notte (1974) set in a mythical Arabia is a series of mythical tales whose structure is similar to the other two films in the Trilogia di vita, and, as he himself said, to Il Vangelo.

The scene of selection is not unlike the casting for a film (it is in fact a parody of casting) as in Fellini’s Intervista (1987). It is like throwing out a net, to catch the right, appropriate, desired, suitable, beautiful, edible fish. In movies, actors must be perfect, especially stars, especially female stars, and especially in the films of Hollywood. For Pasolini (and for the Marquis de Sade) the perfect is an opportunity not for celebration, but desecration, besmirching, the high brought low and violated. Chaucer reads a funny story from The Decameron. His wife scolds him for wasting time so he sits down to write his own story. This is the Miller's Tale. [1] Newlyn Town - Alison farts in Absolon's face, and is also used in the brothel scene in The Pardoner's Tale. New interviews with production designer Dante Ferretti, composer Ennio Morricone, and film scholar Sam Rohdie

It is an adaptation of Chaucer of course- and Pasolini playfully actually portrays the author on screen, jotting down all these vignettes Traditional films have tended to hide the film behind an illusion that what is represented is real. For the illusion to be convincing, a series of dramatic and stylistic mechanisms are set in motion to eliminate anything other than the fiction, as if there is no contrary to it, no other reality, but itself. The essential relation is between what is represented—the subject, the ‘content’—and the representing of it—‘form’, languages. The elderly merchant Sir January decides to marry May, a young woman who has little interest in him. After they are married, the merchant suddenly becomes blind, and insists on constantly holding on to his wife' wrist as consolation for the fact that he cannot see her. Meanwhile, Damian, a young man whom May has interest in decides to take advantage of the situation. May has a key to January's personal garden made. While the two are walking in the private garden, May asks to eat mulberries from one of the trees. Taking advantage of her husband's blindness, she meets with Damian inside of the tree, but is thwarted when the god Pluto, who has been watching over the couple in the garden, suddenly restores January's sight. January briefly sees May and her lover together and is furious. Fortunately for May, the goddess Persephone who also happens to be in the same garden fills her head with decent excuses to calm her husband's wrath. May convinces January that he has hallucinated and the two walk off together merrily. Eisenstein’s Strike (1925) is a perfect example of this aesthetic undermining and overturning, as are scenes in his The Battleship Potemkin (1925) and October (1928). In such theatre and in the films that developed from it, acting and character do not coalesce, acting is not an expression of psychology or drama, nor of ‘reality’, but a defiance, an anti-(bourgeois) theatre that constructs by dismantling. Production lasted from September 16 to November 23, 1971. [3] Pier Paolo Pasolini was very unhappy during the production of this film as Ninetto Davoli was in the process of leaving him to marry a woman.

The pattern is the same in Pasolini’s I racconti though set off by further differences, not only Pasolini to Chaucer, but Italian to Middle English, and an Italian often in dialect, and, as with Chaucer, a language of everyday. In this respect, the difference, verse to prose in Chaucer, rhymes with the difference standard Italian to dialect Italian in the Pasolini. There are further rhymes between the two works of the physical (appearance) to the spiritual (character), the common to the High, the vulgar to the sacred, parody to the serious.She has written for Communications Daily, Discover Hollywood, Hollywood Today, Television International, and Video Age International, and contributed to countless other magazines and digests. During his career amajor source of Pasolini’s notoriety was his open homosexuality, athen-rare position that he actually had little choice in establishing. In 1949, while living and teaching as aregional poet in northeast Italy, Pasolini was outed and promptly charged with corrupting aminor, resulting in the loss of both his teaching post and his membership in the Italian Communist Party. The subsequent scandal prompted Pasolini to flee to Rome and, in retrospect, may have inadvertently hastened his rise to prominence in Italian literature. Today Pasolini’s grisly and still unsolved murder, perhaps at the hands of ateenaged hustler, has permanently linked his homosexuality to his public profile. Vicars' Close, Wells, Wells, Somerset - May's original home before marrying Sir January and the street where January inspects the behinds of young women.



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