Resumen de Pintando el cine: II Decameron de Pier Paolo Pasolini
The article takes an overview of Pasolini’s use of pictorial elements in his films to then analyze the Decameron. The author considers the complexity with which Pasolini interweaves pictorial elements into his film. The traditional attack on Pasolini as overly “citationist” is countered by showing how Pasolini’s ample combinations of film and painting are not so much a sign of carelessness as they are a sign of the extreme circumspection with which Pasolini incorporates abstract pictorial elements.
