Resumen de Medea o de la Derrota
Pasolini’s view of reality can be summed up in the irreconcilable opposition between “History” and “Prehistory”, in which he nullifies the positive element of the latter. However, this nullification is not brought about trough simple destruction, but rather by a gradual assimilation defined as “bourgeoisie entropy” which brings us to the question of standardization imposed by mass culture. Medea literally exemplifies this process by setting up parallel characters, places, and real and mythic events. The film interweaves two discourses which derive from Pasolini’s projection into a double identity—as Medea and the Centaur. Pasolini presents himself as both victim and prophet, that is, as a man who shares Medea’s marginalization, and as a lucid intellectual, albeit one who is impotent to change the events he foresees. Hence, through a diachronic study of the film, Medea is proposed as abstract paradigmatic of Pasolini’s creative process.
