{"id":9571,"date":"2026-04-18T16:23:21","date_gmt":"2026-04-18T14:23:21","guid":{"rendered":"https:\/\/unarchivefest.it\/?post_type=portfolio&p=9571"},"modified":"2026-05-22T14:19:51","modified_gmt":"2026-05-22T12:19:51","slug":"a-history-of-the-world-according-to-getty-images-21","status":"publish","type":"portfolio","link":"https:\/\/unarchivefest.it\/en\/eventi\/a-history-of-the-world-according-to-getty-images-21\/","title":{"rendered":"La rabbia di Pasolini"},"content":{"rendered":"

[vc_row unlock_row_content=”yes” row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ content_parallax=”0″ uncode_shortcode_id=”135292″][vc_column column_width_percent=”0″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”322053″][vc_single_image media=”9575″ media_width_percent=”100″ uncode_shortcode_id=”141919″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”0″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”866162″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”2\/3″ uncode_shortcode_id=”162486″][vc_custom_heading uncode_shortcode_id=”210830″]<\/p>\n

Oggetti smarriti: in cerca di Giuseppe Bertolucci<\/h6>\n

[\/vc_custom_heading][vc_custom_heading auto_text=”yes” text_color=”accent” uncode_shortcode_id=”163448″ text_color_type=”uncode-palette”][\/vc_custom_heading][vc_column_text uncode_shortcode_id=”770936″]Italy \/ 2008 \/ 83′<\/span>[\/vc_column_text][vc_empty_space empty_h=”2″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”1″][vc_column_text uncode_shortcode_id=”152307″]The newsreels *Mondo Libero* and footage sourced from Czechoslovakia, the Soviet Union and England are used to construct a lyrical and polemical analysis of the social and political phenomena and conflicts of the modern world, with commentary divided between a \u2018poetic voice\u2019 (Giorgio Bassani) and a \u2018prose voice\u2019 (Renato Guttuso). This was the concept behind La rabbia, a montage documentary which, in 1963, producer Gastone Ferranti entrusted to the critical eye of Pier Paolo Pasolini. Driven by political scruples and commercial motivations, Ferranti adapted the film in production to the \u2018viewed from the right, viewed from the left\u2019 format, and commissioned Giovannino Guareschi to direct part of it.
\nPasolini endured this forced collaboration with displeasure, but found an ideal redemption thanks to Giuseppe Bertolucci, who in 2008 had the intuition to reconstruct, or rather \u201csimulate\u201d, the missing first part, drawing on a text by the poet and materials from the Mondo Libero archive.[\/vc_column_text][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”945522″]L\u2019idea di rivisitare il \u201cgenere\u201d cinegiornale \u2013 il pi\u00f9 basso, il pi\u00f9 esposto alle peggiori derive qualunquistiche \u2013, di sporcarsi le mani in quel letamaio per estrarne le pietre preziose di alcune straordinarie immagini, di cambiarlo di segno inventandosi un irripetibile prototipo di poema dell\u2019attualit\u00e0… solo Pasolini poteva arrivare a tanto e solo gli anni sessanta potevano consentirgli l\u2019impresa. Per questo ci sembrava assolutamente necessario provare a restituire al progetto pasoliniano la sua fisionomia originaria [\u2026] Rinunciando a qualsiasi pretesa di una forma definitiva, l\u2019idea \u00e8 stata quella \u2013 nello spirito di quegli anni sessanta che qui rievochiamo \u2013 di offrire allo spettatore un kit specialissimo per un fai da te creativo e critico di sicuro interesse.<\/em><\/span><\/p>\n

Giuseppe Bertolucci<\/em><\/span>[\/vc_column_text][\/vc_column][vc_column column_width_percent=”100″ gutter_size=”1″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/3″ uncode_shortcode_id=”207555″][vc_column_text uncode_shortcode_id=”118716″]INTRASTEVERE CINEMA – Room 2, May 27, 5:30 p.m.<\/strong><\/span><\/p>\n

book presentation<\/span>
\nLa rabbia. Un film di Pier Paolo Pasolini (Cronopio 2025)<\/em> by Alessia Cervini<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_separator sep_color=”” uncode_shortcode_id=”459315″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”113827″]La rabbia. Un film di Pier Paolo Pasolini\u00a0<\/i> By Alessia Cervini (Cronopio 2025)<\/strong><\/p>\n

This book is dedicated to one of the strangest, almost unclassifiable objects of Pasolini’s cinema, La rabbia <\/i>(1963), a film that shakes the aesthetic and political physiognomy of its own time to its foundations, managing at the same time to evoke another future and redraw the grammar of the cinema to come. But that’s not all: La rabbia <\/i>represents a decisive-but not infrequently underestimated-turning point in Pasolini’s own trajectory, also recalibrating the idea of cinema that the director had frequented up to that point.<\/p>\n

There are, then, two reasons above all for being interested, even today, in a film like La rabbia<\/i>: the first, all internal to the work of its author (writer, director, poet, critic and film theorist); the second, on the other hand, closely related to the film’s ability to raise issues that question both the world it tells about and the world of the following decades, up to the present.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image media=”9572″ media_width_percent=”100″ uncode_shortcode_id=”294820″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”1″ bottom_padding=”1″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”183712″][vc_column width=”1\/1″][uncode_share layout=”multiple” bigger=”yes” separator=”yes” css_animation=”bottom-t-top” title=”share yes”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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