Resumen de El llanto de la excavadora: Poéticas de arrabal en Pier Paolo Pasolini y Pedro Costa
- español
Para Giorgio Agamben es contemporáneo aquel que no coincide con su tiempo y, gracias a este anacronismo, es más capaz de percibirlo y desentrañarlo. Por ello, Pier Paolo Pasolini y Pedro Costa serán siempre nuestros contemporáneos porque, a pesar de que medio siglo les y nos separe, son dos cineastas que se extraen de su propio tiempo. Dos creadores resistentes, tan intempestivos como tempestuosos que, como el Angelus Novus benjaminiano, rompen la continuidad de la catástrofe y otorgan a cada ruina y a cada imagen su propia significación y su propio relato. Este artículo se levanta sobre las ruinas de dos barrios de arrabal, el Tuscolano II de la Roma de Mamma Roma (1962) y las Fontainhas de Lisboa de No quarto da Vanda (2000) que para Pasolini y Costa representan una forma de vida antigua y sagrada que se ha perdido bajo de las excavadoras de la Modernidad.
- English
According to Giorgio Agamben, a contemporaneous person is one who does not perfectly coincide with their time; therefore, due to this anachronism, they are more capable of perceiving and clinging to their present. Hence why Pier Paolo Pasolini and Pedro Costa will always be our contemporaneous, even if half a century —as well as half Europe— separates them. They are both film-makers who consciously extract themselves and move away from their own time. Two resilient creators, both untimely and impetuous, who try to break the continuity of the catastrophe like the Benjaminian Angelus Novus, therefore granting each ruin, each image, its own meaning and its own story. This article rises from the ruins of two neighborhoods in the outskirts: the Roman Tuscolano II in Mamma RomA (1962), and the Lisonense Fontainhas in No Quarto da Vanda (2000); these two neighborhoods represent, for both Pasolini and Costa, a way of life that is ancient, sacred, and has been left on the margins of History by the machinery of Modernity.
