Pier Paolo Pasolini

{{Short description|Italian writer, filmmaker, poet, and intellectual (1922–1975)}} {{Redirect|Pasolini|other people with that surname|Pasolini (surname)|the 2014 film|Pasolini (film)}} {{Use dmy dates|date=November 2024}} {{Infobox writer  | name = Pier Paolo Pasolini | image = PierPaoloPasolini.jpg | caption = Pasolini in 1964 | pseudonym = | birth_date = {{birth date|df=y|1922|3|5}} | birth_place = Bologna, Kingdom of Italy | death_date = {{death date and age|df=y|1975|11|2|1922|3|5}} | death_place = Ostia, Italy | occupation = {{hlist|Film director|novelist|poet|intellectual|journalist}} | genre = | movement = | signature = Pier Paolo Pasolini signature.svg | alma_mater = University of Bologna }}

'''Pier Paolo Pasolini''' ({{IPA|it|ˈpjɛr ˈpaːolo pazoˈliːni|lang}}; 5 March 1922 – 2 November 1975) was an Italian poet, writer, film director, actor and playwright. He is considered one of the defining public intellectuals in 20th-century Italian history, influential both as an artist and a political figure.<ref>{{cite web |title=Il Dissenso di un Intellettuale: Pier Paolo Pasolini, a Cen |url=https://news-art.it/news/il-dissenso-di-un-intellettuale---pier-paolo-pasolini--a-cento-anni-dalla-nascita--.htm |access-date=17 August 2022 |website=news-art.it |language=it-IT |archive-date=28 November 2022 |archive-url=https://web.archive.org/web/20221128053427/https://news-art.it/news/il-dissenso-di-un-intellettuale---pier-paolo-pasolini--a-cento-anni-dalla-nascita--.htm |url-status=live }}</ref><ref>{{cite web |last=Quarti |first=Matilde |date=18 November 2017 |title=La vita e i libri di Pier Paolo Pasolini, intellettuale corsaro |url=https://www.illibraio.it/news/dautore/pier-paolo-pasolini-una-vita-violenta-670175/ |access-date=17 August 2022 |website=ilLibraio.it |language=it |archive-date=13 February 2024 |archive-url=https://web.archive.org/web/20240213164624/https://www.illibraio.it/news/dautore/pier-paolo-pasolini-una-vita-violenta-670175/ |url-status=live }}</ref><ref>{{cite web |date=15 November 2021 |title=Pier Paolo Pasolini, l'uomo, l'artista, l'intellettuale: un volume in digitale dell'Espresso |url=https://www.repubblica.it/cultura/2021/11/15/news/pier_paolo_pasolini_l_uomo_l_artista_l_intellettuale_un_volume_in_digitale_dell_espresso-325751209/ |access-date=17 August 2022 |website=la Repubblica |language=it |archive-date=16 December 2021 |archive-url=https://web.archive.org/web/20211216093418/https://www.repubblica.it/cultura/2021/11/15/news/pier_paolo_pasolini_l_uomo_l_artista_l_intellettuale_un_volume_in_digitale_dell_espresso-325751209/ |url-status=live }}</ref><ref>{{cite web |date=27 February 2022 |title=Pasolini 100 anni intellettuale sempre più profetico - Libri - Approfondimenti |url=https://www.ansa.it/sito/notizie/cultura/libri/approfondimenti/2022/02/27/ansa/pasolini-100-anni-intellettuale-sempre-piu-profetico_a38cd552-4019-4ec2-953e-f486bf9607d4.html |access-date=17 August 2022 |website=Agenzia ANSA |language=it |archive-date=3 December 2022 |archive-url=https://web.archive.org/web/20221203042924/https://www.ansa.it/sito/notizie/cultura/libri/approfondimenti/2022/02/27/ansa/pasolini-100-anni-intellettuale-sempre-piu-profetico_a38cd552-4019-4ec2-953e-f486bf9607d4.html |url-status=live }}</ref> He is known for directing ''The Gospel According to St. Matthew'', the films from Trilogy of Life (''The Decameron'', ''The Canterbury Tales'' and ''Arabian Nights'') and ''Salò, or the 120 Days of Sodom''.

A controversial personality due to his straightforward style, Pasolini's legacy remains contentious. Openly gay while also a vocal advocate for heritage language revival, cultural conservatism, and Christian values in his youth, Pasolini became an avowed Marxist shortly after the end of World War II. He began voicing extremely harsh criticism of Italian petite bourgeoisie and what he saw as the Americanization, cultural degeneration, and greed-driven consumerism taking over Italian culture.<ref>[https://collegefilmandmediastudies.com/pier-paolo-pasolini-cultural-hegemony-film-analysis-robin-cross/ Pier Paolo Pasolini: Cultural Hegemony. Film Analysis Robin Cross] {{Webarchive|url=https://web.archive.org/web/20211102174314/https://collegefilmandmediastudies.com/pier-paolo-pasolini-cultural-hegemony-film-analysis-robin-cross/ |date=2 November 2021 }}. College Film & Media Studies. Retrieved 2 November 2021.</ref> As a filmmaker, Pasolini often juxtaposed socio-political polemics with an extremely graphic and critical examination of taboo sexual matters. A prominent protagonist of the Roman intellectual scene during the post-war era, Pasolini became an established and major figure in European literature and cinema.

Pasolini's unsolved and extremely brutal abduction, torture, and murder at Ostia in November 1975 prompted an outcry in Italy, where it continues to be a matter of heated debate. Recent leads by Italian cold case investigators suggest a contract killing by the Banda della Magliana, a criminal organisation with close links to the Propaganda Due masonic lodge and far-right terrorism, as the most likely cause.<ref name=":0">{{cite web|title=Plea to reopen Pasolini murder file presented|url=https://www.ansa.it/english/news/lifestyle/arts/2023/03/03/plea-to-reopen-pasolini-murder-file-presented_823996a4-df79-4d90-be86-434d0010017a.html|date=March 3, 2023|website=ANSA|access-date=22 May 2023|archive-date=22 May 2023|archive-url=https://web.archive.org/web/20230522171247/https://www.ansa.it/english/news/lifestyle/arts/2023/03/03/plea-to-reopen-pasolini-murder-file-presented_823996a4-df79-4d90-be86-434d0010017a.html|url-status=live}}</ref>

== Biography == === Early life === Pier Paolo Pasolini was born in Bologna, Italy, the son of Susanna Colussi, a Friulian elementary school teacher named after her Polish-Jewish great-grandmother,<ref>Frank Northen Magill, ''Critical survey of poetry: foreign language series'', Salem Press, 1984, p. 1145</ref> and Carlo Alberto Pasolini, a lieutenant in the Royal Italian Army who belonged to the cadet branch of an aristocratic family from Ravenna;<ref>{{cite web |url=https://www.unibo.it/en/university/who-we-are/our-history/famous-people-and-students/pier-paolo-pasolini-1%23 |title=Pier Paolo Pasolini — University of Bologna |work=University of Bologna |access-date=29 August 2024 }}{{Dead link|date=February 2026 |bot=InternetArchiveBot }}</ref> they had married in 1921. Pasolini was born in 1922 and named after a paternal uncle. His family moved to Conegliano in 1923, then to Belluno in 1925, where their second son, Guidalberto, was born. In 1926, Pasolini's father was arrested for gambling debts. His mother moved with the children to her family's home in Casarsa della Delizia, in the Friuli-Venezia Giulia region. In that same year, his father was first detained, then identified Anteo Zamboni as the would-be assassin of Benito Mussolini following his assassination attempt.{{Citation needed|reason=Is it an established fact that he saved it, or is this merely based on his claim of having done so? There appears to be conflicting testimony, such as by Marshal Francesco Burgio.|date=September 2014}} Carlo Alberto was persuaded of the virtues of Italian fascism.<ref>{{cite book |last=Siciliano |first=Enzo |date=2014 |title=Pasolini; Una vida tormentosa |publisher=Torres de Papel|page=37|isbn=978-84-943726-4-3}}</ref>

Pasolini began writing poems at age seven, inspired by the natural beauty of Casarsa. One of his early influences was the work of Arthur Rimbaud. His father was transferred to Idria in the Julian March (now in Slovenia) in 1931;<ref>[http://www.rtvslo.si/kultura/drugo/ste-vedeli-da-je-pier-paolo-pasolini-v-otrostvu-nekaj-casa-zivel-v-idriji/294028 Ste vedeli, da je Pier Paolo Pasolini v otroštvu nekaj časa živel v Idriji?: Prvi interaktivni multimedijski portal, MMC RTV Slovenija] {{Webarchive|url=https://web.archive.org/web/20121022083126/http://www.rtvslo.si/kultura/drugo/ste-vedeli-da-je-pier-paolo-pasolini-v-otrostvu-nekaj-casa-zivel-v-idriji/294028 |date=22 October 2012 }}. Rtvslo.si (20 October 2012). Retrieved 22 May 2014.</ref> in 1933 they moved again to Cremona in Lombardy, and later to Scandiano and Reggio Emilia. Pasolini found it difficult to adapt to all these dislocations, although he enlarged his poetry and literature readings (Dostoyevsky, Tolstoy, Shakespeare, Coleridge, Novalis) and left behind the religious fervour of his early years. In the Reggio Emilia high school, he met his first true friend, Luciano Serra. The two met again in Bologna, where Pasolini spent seven years completing high school. Here he cultivated new passions, including football. With other friends, including Ermes Parini, Franco Farolfi, and Elio Meli, he formed a group dedicated to literary discussions.

In 1939, Pasolini graduated and entered the Literature College of the University of Bologna, discovering new themes such as philology and aesthetics of figurative arts. He also frequented the local cinema club. Pasolini always showed his friends a virile and strong exterior, totally hiding his interior turmoil. In his poems of this period, Pasolini started to include fragments in Friulan, a minority language he did not speak but learned after he had begun to write poetry in it. "I learnt it as a sort of mystic act of love, a kind of ''félibrisme'', like the Provençal poets."<ref>Stack, O. (1969). ''Pasolini on Pasolini'', pp. 15–17, London: Thames and Hudson.</ref> In 1943, he would found the ''Academiuta della lenga furlana'' (Academy of the Friulan Language) with fellow students.<ref>Thompson, N.S. (1981), ''Pier Paolo Pasolini: Poet and Prophet'', in Murray, Glen (ed.), ''Cencrastus'' No. 7, Winter 1981 - 82, pp. 30 - 32.</ref> As a young adult, Pasolini identified as an atheist.<ref>{{Cite news |last=Flatley |first=Guy |date=April 20, 1969 |title=One Man's God, Another Man's Devil |url=https://timesmachine.nytimes.com/timesmachine/1969/04/20/170469212.html |access-date=2026-01-02 |work=The New York Times |language=en |issn=0362-4331}}</ref>

In the waning years of World War II, Pasolini was drafted into the Italian Army.<ref name="poetry foundation">[https://www.poetryfoundation.org/poets/pier-paolo-pasolini Pier Paolo Pasolini, 1922–1975] {{Webarchive|url=https://web.archive.org/web/20240822203144/https://www.poetryfoundation.org/poets/pier-paolo-pasolini |date=22 August 2024 }} Poetry Foundation. Retrieved May 9, 2024.</ref> After his regiment was captured by the Germans following Italy's surrender, he escaped and fled to the small town of Casarsa where he remained for several years.<ref name="poetry foundation"/>

=== Early poetry === thumb|right|200px|Pasolini in his young years In 1942, Pasolini published at his own expense a collection of poems in Friulan, ''Poesie a Casarsa'', which he had written at the age of eighteen. The work was noted and appreciated by such intellectuals and critics as Gianfranco Contini, Alfonso Gatto and Antonio Russi. Pasolini's pictures had also been well received. He was chief editor of a magazine called ''Il Setaccio'' ('The Sieve'), but was fired after conflicts with the director, who was aligned with the Fascist regime. A trip to Germany also helped him to perceive the "provincial" status of Italian culture in that period. These experiences led Pasolini to revise his opinion about the cultural politics of Fascism and to switch gradually to a communist position.

Pasolini's family took shelter in Casarsa, considered a more tranquil place to wait for the conclusion of the Second World War, a decision common among Italian military families. Here he joined a group of other young enthusiasts of the Friulan language who wanted to give Casarsa Friulan a status equal to that of Udine, the official regional standard. From May 1944, they issued a magazine entitled ''Stroligùt di cà da l'aga''. In the meantime, Casarsa suffered Allied bombardments and forced enlistments by the Italian Social Republic, as well as partisan activity.

Pasolini tried to distance himself from these events. Starting in October 1943, Pasolini, his mother and other colleagues taught students unable to reach the schools in Pordenone or Udine. This educational workshop was considered illegal and was broken up in February 1944.<ref>{{cite book |last=Martellini |first=Luigi |date=2006 |title=Pier Paolo Pasolini; Retrato de un intelectual |location=Valencia |publisher=Universidad de Valencia |page=28 |isbn=978-84-370-7928-8}}</ref> It was here that Pasolini had his first experience of homosexual attraction to one of his students.{{citation needed|date=February 2016}} His brother Guido, aged 19, joined the Party of Action and their Brigate Osoppo, taking to the bush near Slovenia. On 12 February 1945, Guido was killed in an ambush planted by the Brigate Garibaldi serving in the lines of Josip Broz Tito's Yugoslavian guerrillas. This devastated Pasolini and his mother.<ref>Martelini, L. 2006, p. 29</ref>

Six days after his brother's death, Pasolini and others founded the Friulan Language Academy (''Academiuta di lenga furlana''). Meanwhile, on account of Guido's death, Pasolini's father returned to Italy from his detention period in November 1945, settling in Casarsa. That same month, Pasolini graduated from university after completing a final thesis about the work of Giovanni Pascoli (1855–1912), an Italian poet and classical scholar.<ref>Martelini, L. 2006, p. 33</ref>

In 1946, Pasolini published a small poetry collection, ''I Diarii'' ('The Diaries'), with the Academiuta. In October, he travelled to Rome. The following May he began the so-called ''Quaderni Rossi'', handwritten in old school exercise books with red covers. He completed a drama in Italian, ''Il Cappellano''. His poetry collection, ''I Pianti'' ('The cries'), was also published by the Academiuta.

=== Rome === In January 1950, Pasolini moved to Rome with his mother Susanna, to start a new life. He was acquitted of two indecency charges in 1950 and 1952.<ref name="Martelini, L. 2006, p. 48"/> After one year sheltered in a maternal uncle's flat next to Piazza Mattei, Pasolini and his 59-year-old mother moved to a run-down suburb called Rebibbia, next to a prison, living there for three years. He transferred his Friulan countryside inspiration to this Roman suburb, one of the infamous ''borgate'' where poor proletarian immigrants lived, often in horrendous sanitary and social conditions. Instead of asking for help from other writers, Pasolini preferred to go his own way.

Pasolini found a job working in the Cinecittà film studios and sold his books in the ''bancarelle'' ('sidewalk shops') of Rome. In 1951, with the help of the Abruzzese-language poet Vittorio Clemente, he found a job as a secondary school teacher in Ciampino, just outside the capital. He had a long commute involving two train changes and earned a meagre salary of 27,000 lire.

== Career == {{More citations needed section|date=November 2021}}

=== Writing ===  In 1954, Pasolini, who now worked for the literary section of Cinecittà, left his teaching job and moved to the Monteverde quarter. At this point, his cousin Graziella moved in. They also accommodated Pasolini's ailing, cirrhotic father Carlo Alberto, who died in 1958. Pasolini published ''La meglio gioventù'', his first important collection of Friulan poems. His first novel, ''Ragazzi di vita'' (English: ''Hustlers''), which dealt with the Roman lumpenproletariat, was published in 1955. The work had great success but was poorly received by the Italian Communist Party (PCI) establishment and, most importantly, by the Italian government. It initiated a lawsuit for "obscenity" against Pasolini and his publisher, Garzanti.<ref>Martelini, L. 2006, p. 62</ref> Although exonerated, Pasolini became a target of insinuations, especially in the tabloid press.

In 1955, together with Francesco Leonetti, Roberto Roversi and others, Pasolini edited and published a poetry magazine called ''Officina''. The magazine closed in 1959 after fourteen issues. That year he also published his second novel, ''Una vita violenta'', which unlike his first was embraced by the Communist cultural sphere: he subsequently wrote a column titled ''Dialoghi con Passolini'' (meaning ''Passolini in Dialogue''), for the PCI magazine ''Vie Nuove'' from May 1960 to September 1965,<ref>{{cite book|author=Robert Samuel Clive Gordon|title=Pasolini: Forms of Subjectivity|url=https://books.google.com/books?id=mD2SNnKlK5sC&pg=PA47|year=1996|publisher=Clarendon Press|isbn=978-0-19-815905-6|page=47}}</ref> which were published in book form in 1977 as ''Le belle bandiere'' (''The Beautiful Flags'').<ref name="jacobin"/> In the late 1960s Pasolini edited an advice column in the weekly news magazine ''Tempo''.<ref>{{cite book|author=Emma Baron|chapter=Dear Intellectual: The Cultural Advice Columns |title=Popular High Culture in Italian Media, 1950–1970|year=2018|publisher=Palgrave Macmillan|location=Cham, Switzerland|isbn=978-3-319-90963-9|page=55|doi=10.1007/978-3-319-90963-9_3 |chapter-url=https://doi.org/10.1007/978-3-319-90963-9_3}}</ref>

In 1966, Pasolini wrote a screenplay for a never-produced film about the apostle Saint Paul, which he subsequently revised.<ref>{{Cite web |date=15 June 2015 |title=Pasolini and St Paul |url=https://blogs.bl.uk/european/2015/06/pasolini-and-st-paul.html |access-date=2023-01-16 |website=British Library |language=en |archive-date=5 February 2023 |archive-url=https://web.archive.org/web/20230205144518/https://blogs.bl.uk/european/2015/06/pasolini-and-st-paul.html |url-status=live }}</ref> Pasolini's screenplay was intended to depict Paul as a modern contemporary without modifying any of Paul's statements.<ref>{{Cite book |last=Badiou |first=Alain |title=Saint Paul : the foundation of universalism |date=2003 |publisher=Stanford University Press |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=36–37 |oclc=51093150 |author-link=Alain Badiou}}</ref> In Pasolini's story, Paul is a fascist Vichy France collaborator who becomes illuminated while traveling to Franco's Spain and joins the antifascist French resistance, an event which serves as the modern analogue for the Pauline conversion.<ref>{{Cite book |last=Badiou |first=Alain |title=Saint Paul : the foundation of universalism |date=2003 |publisher=Stanford University Press |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=37–38 |oclc=51093150 |author-link=Alain Badiou}}</ref> The screenplay follows Paul as he preaches resistance in Italy, Spain, Germany, and New York (where he is betrayed, arrested, and executed).<ref>{{Cite book |last=Badiou |first=Alain |title=Saint Paul : the foundation of universalism |date=2003 |publisher=Stanford University Press |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=38 |oclc=51093150 |author-link=Alain Badiou}}</ref> As philosopher Alain Badiou writes, "The most surprising thing in all this is the way in which Paul's texts are transplanted unaltered, and with an almost unfathomable naturalness, into the situations in which Pasolini deploys them: war, fascism, American capitalism, the petty debates of Italian intelligentsia[.]"<ref>{{Cite book |last=Badiou |first=Alain |title=Saint Paul : the foundation of universalism |date=2003 |publisher=Stanford University Press |isbn=0-8047-4470-X |location=Stanford, Calif. |pages=39 |oclc=51093150 |author-link=Alain Badiou}}</ref>

In 1970, Pasolini bought an old castle near Viterbo, several miles north of Rome, where he began to write his last novel, ''Il Petrolio'', in which he denounced obscure dealing in the highest levels of government and the corporate world (Eni, CIA, the Mafia, etc.).<ref>Martelini, L. 2006, p. 192</ref> The novel-documentary was left incomplete at his death. In 1972, Pasolini started to collaborate with the far-left organization Lotta Continua, producing a documentary, ''12 dicembre'', concerning the Piazza Fontana bombing. The following year he began a collaboration for Italy's most renowned newspaper, ''Il Corriere della Sera''. At the beginning of 1975, Garzanti published a collection of his critical essays, ''Scritti corsari'' ('Corsair Writings').

=== Narrative === * ''Ragazzi di vita'' (''The Ragazzi'', 1955) * ''Una vita violenta'' (''A Violent Life'', 1959) * ''Il sogno di una cosa'' (1962) * ''Amado Mio—Atti Impuri'' (1982, originally written in 1948) * ''Alì dagli occhi azzurri'' (1965) * ''Teorema'' (1968) * ''Reality'' (''The Poets' Encyclopedia'', 1979) * ''Petrolio'' (1992, incomplete)

=== Poetry === * ''La meglio gioventù'' (1954) * ''Le ceneri di Gramsci'' (1957) * ''L'usignolo della chiesa cattolica'' (1958) * ''La religione del mio tempo'' (1961) * ''Poesia in forma di rosa'' (1964) * ''Trasumanar e organizzar'' (1971) * ''La nuova gioventù'' (1975) * ''Roman Poems''. Pocket Poets No. 41 (1986) * ''The Selected Poetry of Pier Paolo Pasolini: A Bilingual Edition'' (2014)

=== Essays === * ''Passione e ideologia'' (1960) * ''Canzoniere italiano, poesia popolare italiana'' (1960) * ''Empirismo eretico'' (1972) * ''Lettere luterane'' (1976) * ''Le belle bandiere'' (1977) * ''Descrizioni di descrizioni'' (1979) * ''Il caos'' (1979) * ''La pornografia è noiosa'' (1979) * ''Scritti corsari'' (1975) * ''Lettere (1940–1954)'' (''Letters, 1940–54'', 1986)

=== Theatre === * ''Orgia'' (1968) * ''Porcile'' (1968) * ''Calderón'' (1973) * ''Affabulazione'' (1977) * ''Pilade'' (1977) * ''Bestia da stile'' (1977)

=== Films === In 1957, together with Sergio Citti, Pasolini collaborated on Federico Fellini's film ''Nights of Cabiria'', writing dialogue for the Roman dialect sections. Fellini also asked him to work on dialogue for some episodes of ''La dolce vita''.<ref>{{cite web |last=Monopoli |first=Leonardo |title=Pasolini e il cinema |url=http://www.homolaicus.com/letteratura/pasolini/7.htm |website=homolaicus.com |access-date=9 September 2018 |language=it |archive-date=19 February 2018 |archive-url=https://web.archive.org/web/20180219202400/http://www.homolaicus.com/letteratura/pasolini/7.htm |url-status=live }}</ref> Pasolini made his debut as an actor in ''The Hunchback of Rome'' in 1960, and co-wrote ''Long Night in 1943''. Along with ''Ragazzi di vita'', he had his celebrated poem ''Le ceneri di Gramsci'' published, where Pasolini voiced tormented tensions between reason and heart, as well as the existing ideological dialectics within communism, a debate over artistic freedom, socialist realism and commitment.<ref>Martelini, L. 2006, pp. 79–81</ref>

Pasolini's first film as director and screenwriter was ''Accattone'' in 1961, again set among Rome's marginal communities, a story of pimps, prostitutes, and thieves that contrasted with Italy's postwar economic recovery. Although Pasolini tried to distance himself from neorealism, it is considered to be a type of second neorealism. Nick Barbaro, a critic writing in the ''Austin Chronicle'', stated it "may be the grimmest movie" he has ever seen.<ref>{{cite web|url=https://www.austinchronicle.com/events/film/2001-02-07/140956/|title=Movie Review: Accattone|website=www.austinchronicle.com|access-date=6 November 2022|archive-date=6 November 2022|archive-url=https://web.archive.org/web/20221106234401/https://www.austinchronicle.com/events/film/2001-02-07/140956/|url-status=dead}}</ref> The film aroused controversy and scandal, with conservatives demanded stricter censorship by the government. In 1963, the episode "La ricotta", included in the anthology film ''Ro.Go.Pa.G.'', was censored, and Pasolini was tried for "offence to the Italian state and religion".<ref>{{cite news |last=Barbaro |first=Nick |title=Che Bella: Italian Neorealism and the Movies – and the AFS Series – It Inspired |newspaper=The Austin Chronicle |date=19 January 2001 |url=http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A80268 |access-date=13 December 2006 |archive-url=https://web.archive.org/web/20061207055450/http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid:80268 |archive-date=7 December 2006 |url-status= live}}</ref>

During this period, Pasolini frequently travelled abroad: in 1961, with Elsa Morante and Alberto Moravia to India (where he went again seven years later); in 1962, to Sudan and Kenya; in 1963, to Ghana, Nigeria, Guinea, Jordan and Israel (where he shot the documentary ''Sopralluoghi in Palestina''). In 1970 he travelled again to Africa to shoot another documentary, ''Appunti per un'Orestiade africana''. Pasolini was a member of the jury at the 16th Berlin International Film Festival in 1966.<ref name="berlinale 1966">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1966/04_jury_1966/04_Jury_1966.html |title=Berlinale 1966: Juries |access-date=22 February 2010 |work=berlinale.de |archive-date=23 October 2013 |archive-url=https://web.archive.org/web/20131023115321/http://www.berlinale.de/en/archiv/jahresarchive/1966/04_jury_1966/04_Jury_1966.html |url-status=live }}</ref> In 1967, in Venice, he met and interviewed American poet Ezra Pound.<ref name="youtube.com">{{YouTube|jrwIbjwbT0o}}. Retrieved 22 May 2014.</ref> They discussed the Italian movement ''neoavanguardia,'' and Pasolini read some verses from the Italian translation of Pound's ''Pisan Cantos''.<ref name="youtube.com"/>

The late 1960s and early 1970s was the era of the student movement. Pasolini, although acknowledging the students' ideological motivations, and referring to himself as a "Catholic Marxist",<ref>{{cite web|url=http://www.pierpaolopasolini.com/bio.htm|title=Pier Paolo Pasolini – Biography|website=pierpaolopasolini.com|access-date=12 June 2018|archive-date=25 June 2018|archive-url=https://web.archive.org/web/20180625191205/http://www.pierpaolopasolini.com/bio.htm|url-status=live}}</ref> thought them "anthropologically middle-class" and therefore destined to fail in their attempts at revolutionary change. Regarding the Battle of Valle Giulia, which took place in Rome in March 1968, he said that he sympathized with the police, as they were "children of the poor", while the young militants were exponents of what he called "left-wing fascism".{{citation needed|date=February 2016}} His film that year, ''Teorema'', was shown at the Venice Film Festival in a hot political climate. Pasolini had proclaimed that the festival would be managed by the directors.{{citation needed|date=February 2016}}

He wrote and directed the black-and-white film ''The Gospel According to Matthew'' (1964). It is based on scripture, but adapted by Pasolini, and he is credited as a writer. Jesus, a barefoot peasant, is played by Enrique Irazoqui. In his 1966 film ''Uccellacci e uccellini'' (literally "Bad Birds and Little Birds" but translated in English as ''The Hawks and the Sparrows''), a picaresque—and at the same time mystic—fable, Pasolini hired great Italian comedian Totò to work with Ninetto Davoli, the director's lover at the time and one of his preferred "naif" actors. It was a unique opportunity for Totò to demonstrate that he was a great dramatic actor as well.{{citation needed|date=February 2016}} In ''Teorema'' (''Theorem'', 1968), starring Terence Stamp as a mysterious stranger, Pasolini depicted the sexual coming-apart of a bourgeois family. (Variations of this theme were later done by François Ozon in ''Sitcom'', Joe Swanberg in ''The Zone'' and Takashi Miike in ''Visitor Q.''){{citation needed|date=February 2016}}

Later films centred on sex-laden folklore, such as Boccaccio's ''Decameron'' (1971), Chaucer's ''The Canterbury Tales'' (1972), and ''Il fiore delle mille e una notte'' (literally ''The Flower of 1001 Nights'', released in English as ''Arabian Nights'', 1974). These films are usually grouped as the ''Trilogy of Life''. While basing them on classics, Pasolini wrote the screenplays and took sole writing credit. This trilogy, prompted largely by Pasolini's attempt to show the secular sacredness of the body against man-made social controls and especially against the venal hypocrisy of the religious state (indeed, the religious characters in ''The Canterbury Tales'' are shown as pious but amorally grasping fools) were an effort at representing a state of natural sexual innocence essential to the true nature of free humanity. Alternately playfully bawdy and poetically sensuous, wildly populous, subtly symbolic and visually exquisite, the films were popular in Italy and remain perhaps his most enduringly popular works. Yet despite the fact that the trilogy as a whole is considered by many as a masterpiece, Pasolini later reviled his own creation on account of the many soft-core imitations of these three films in Italy that happened afterwards on account of the very same popularity he wound up deeply uncomfortable with. He believed that a bastardisation of his vision had taken place that amounted to a commoditisation of the body he had tried to deny in his trilogy in the first place. The disconsolation this provided is seen as one of the primary reasons for his final film, ''Salò'', in which humans are not only seen as commodities under authoritarian control but are viewed merely as cyphers for its whims, without the free vitality of the figures in the Trilogy of Life.{{Citation needed|date=January 2025}}

His final work, ''Salò o le 120 giornate di Sodoma'' (''Salò, or the 120 Days of Sodom'', 1975), exceeded what most viewers could accept at the time in its explicit scenes of sexual perversity and intensely sadistic violence. Based on the novel ''120 Days of Sodom'' by Marquis de Sade, it is considered Pasolini's most controversial film. In May 2006, ''Time Out''{{'}}s Film Guide named it the "Most Controversial Film" of all time. Salò was intended as the first film of his ''Trilogy of Death'', followed by an aborted biopic film about Gilles de Rais.

* Note: All titles listed below were written and directed by Pasolini unless stated otherwise.

{| class="wikitable" ! rowspan="2" |Year ! colspan="2" |Title ! rowspan="2" |Adapted from ! rowspan="2" |Notes |- ! style="width:20%;" |Original ! style="width:26%;" |In English |- | 1961 | ''Accattone'' | ''Accattone'' | Pasolini's novel ''Una vita violenta.'' | Screenplay written in collaboration with Sergio Citti. |- style=background:#efefef;<br />Karlovy Vary International Film Festival Best Director Award | 1962 | ''Mamma Roma'' | ''Mamma Roma'' | |Screenplay by Pasolini with additional dialogue by Citti. |- | 1964 | ''Il vangelo secondo Matteo'' | ''The Gospel According to St. Matthew'' |The Gospel of Matthew. | Won the Silver Lion at the 25th Venice International Film Festival, United Nations Award at the 21st British Academy Film Awards. |- style=background:#efefef; | 1966 | ''Uccellacci e uccellini'' | ''The Hawks and the Sparrows'' | | |- | 1967 | ''Edipo re'' | ''Oedipus Rex'' | ''Oedipus Rex'' by Sophocles. |Acted in the film as High Priest |- style=background:#efefef; | 1968 | ''Teorema'' | ''Theorem''{{efn|The translated English title is used infrequently.}} | | Pasolini's novel ''Teorema'' was also published in 1968. |- | 1969 | ''Porcile'' | ''Pigsty'' | | |- style=background:#efefef; | 1969 | ''Medea'' | ''Medea'' | ''Medea'' by Euripides. | |- | 1971 | ''Il Decameron'' | ''The Decameron'' | ''The Decameron'' by Giovanni Boccaccio. | Won the Silver Bear at the 21st Berlin International Film Festival.<ref name = "berlinale 1971">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1971/03_preistr_ger_1971/03_Preistraeger_1971.html |title=Berlinale 1972: Prize Winners |access-date=26 June 2011 |work=berlinale.de |archive-date=4 May 2014 |archive-url=https://web.archive.org/web/20140504155337/http://www.berlinale.de/en/archiv/jahresarchive/1971/03_preistr_ger_1971/03_Preistraeger_1971.html |url-status=dead }}</ref> Acted in the film as Allievo di Giotto. |- style=background:#efefef; | 1972 | ''I racconti di Canterbury'' | ''The Canterbury Tales'' | ''The Canterbury Tales'' by Geoffrey Chaucer. | Won the Golden Bear at the 22nd Berlin International Film Festival.<ref name="berlinale 1972">{{cite web |url=http://www.berlinale.de/en/archiv/jahresarchive/1972/03_preistr_ger_1972/03_Preistraeger_1972.html |title=Berlinale 1972: Prize Winners |access-date=16 March 2010 |work=berlinale.de |archive-date=27 April 2014 |archive-url=https://web.archive.org/web/20140427082617/http://www.berlinale.de/en/archiv/jahresarchive/1972/03_preistr_ger_1972/03_Preistraeger_1972.html |url-status=dead }}</ref> Acted in the film as Geoffrey Chaucer. |- | 1974 | ''Il fiore delle Mille e una Notte'' | ''A Thousand and One Nights'' (''Arabian Nights'') |''One Thousand and One Nights'' | Screenplay written in collaboration with Dacia Maraini. Won the Grand Prix Spécial Prize at the 1974 Cannes Film Festival.<ref name="festival-cannes.com">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/2245/year/1974.html |title=Festival de Cannes: Arabian Nights |access-date=26 June 2011 |work=festival-cannes.com|archive-url=https://web.archive.org/web/20120208194718/http://www.festival-cannes.com/en/archives/ficheFilm/id/2245/year/1974.html|archive-date=8 February 2012}}</ref> |- style=background:#efefef; | 1975 | ''Salò o le 120 giornate di Sodoma'' | ''Salo, or the 120 Days of Sodom'' | ''Les 120 journées de Sodome ou l'école du libertinage'' by the Marquis de Sade. | Screenplay written in collaboration with Citti with extended quotes from Roland Barthes' ''Sade, Fourier, Loyola'' and Pierre Klossowski's ''Sade mon prochain''. |}

=== Episodes in omnibus films === * ''La ricotta'' in ''RoGoPaG'' (1963) * First segment of ''La rabbia'' (1963) * "La Terra vista dalla Luna" in ''The Witches'' (1967) * "Che cosa sono le nuvole?" in ''Caprice Italian Style'' (1968) * "La sequenza del fiore di carta" in ''Love and Anger'' (1969)

=== Documentaries === * ''Love Meetings'' (1964)<ref>{{Cite web |last=Pasolini |title=Love Meetings (Criterion Collection) |url=https://www.criterion.com/films/31432-love-meetings}}</ref> * ''Sopralluoghi in Palestina per Il Vangelo secondo Matteo'' (1965) * ''Appunti per un film sull'India'' (1968) * ''Appunti per un romanzo dell'immondizia'' (1970) * ''Appunti per un'Orestiade Africana'' (1970) * ''Le mura di Sana'a'' (1971) * ''12 Dicembre'' (1972) * ''Pasolini e la forma della città'' (1974)

== Personal life == A small scandal broke out during a local festival in Ramuscello in September 1949. Someone informed Cordovado, the local sergeant of the Carabinieri, of sexual conduct (masturbation) by Pasolini with three teenagers aged between sixteen and fifteen after dancing and drinking.<ref name="Siciliano, Enzo. 2014, 148"/> Cordovado summoned the boys' parents, who refused to file charges despite Cordovado's urging. Cordovado nevertheless drew up a report, and the informer elaborated publicly on his accusations, sparking a public uproar. A judge in San Vito al Tagliamento charged Pasolini with "corruption of minors and obscene acts in public places".<ref name="Siciliano, Enzo. 2014, 148"/><ref name="Martelini, L. 2006, p. 48">Martelini, L. 2006, p. 48</ref>

Pier Paolo Pasolini and the two 16-year-old teenagers were both indicted.<ref name="Siciliano, Enzo. 2014, 149">Siciliano, Enzo. 2014, 149</ref> and the trial was scrapped due to lack of evidence. The two sixteen-year-old boys and Pasolini were forced to pay the court costs but were acquitted of the charges, with the insubstantial accusation of corruption of a minor and the charge of indecent exposure in a public place being dropped because the area was private property, isolated, and hidden from view by hedges.<ref>L. Betti, ''Pasolini: cronaca giudiziaria, persecuzione, morte'', Garzanti, 1977</ref> <ref name="Siciliano, Enzo. 2014, 140"> Siciliano, Enzo. 2014, 140 </ref>

The next month, when questioned, Pasolini did not deny the facts, but talked of a "literary and erotic drive" and cited André Gide, the 1947 Nobel Prize for Literature laureate. Cordovado informed his superiors and the regional press stepped in.<ref name="Siciliano, Enzo. 2014, 149"/> According to Pasolini, the Christian Democrats instigated the entire affair to smear his name ("the Christian Democrats pulled the strings"). He was fired from his job in Valvasone<ref name="Martelini, L. 2006, p. 48"/> and was expelled from the PCI by the party's Udine section, which he considered a betrayal. He addressed a critical letter to the head of the section, his friend Ferdinando Mautino, and claimed he was being subject to a "tacticism" of the PCI. In the party, the expulsion was opposed by Teresa Degan, Pasolini's colleague in education. He also wrote her a letter admitting his regret for being "such a naif, even indecently so".<ref name="Siciliano, Enzo. 2014, 148"/> Pasolini's parents reacted angrily and the situation in the family also became untenable.<ref>Siciliano, Enzo. 2014, 151</ref> In late 1949, he decided to move to Rome along with his mother, seeking to start a new life, settling down in the outskirts of Rome.

In 1963, at the age of 41, Pasolini met "the great love of his life", 15-year-old Ninetto Davoli, whom he later cast in his 1966 film ''Uccellacci e uccellini'' (literally "Bad Birds and Little Birds" but translated in English as ''The Hawks and the Sparrows''). Pasolini became the youth's mentor and friend.<ref>{{cite news |first=Doug |last=Ireland |title=Restoring Pasolini |date=4 August 2005 |work=LA Weekly |publisher=LA Weekly, LP |url=http://www.laweekly.com/2005-08-04/news/restoring-pasolini/ |access-date=29 August 2010 |archive-date=27 December 2013 |archive-url=https://web.archive.org/web/20131227224102/http://www.laweekly.com/2005-08-04/news/restoring-pasolini/ |url-status=dead }}</ref>

Important women in Pasolini's life with whom he shared a feeling of profound and unique friendship were, in particular, actress Laura Betti and singer Maria Callas. Dacia Maraini, an Italian writer, said of Callas' behaviour towards Pasolini: "She used to follow him everywhere, even to Africa. She hoped to 'convert' him to heterosexuality and to marriage."<ref>{{cite web | url=http://www.centrostudipierpaolopasolinicasarsa.it/molteniblog/lamore-impossibile-tra-ppp-e-maria-callas-nel-film-lisola-di-medea-di-sergio-naitza/ | title=L'Amore impossibile tra PPP e Maria Callas nel film "L'isola di Medea" di Sergio Naitza | date=7 August 2016 | access-date=29 May 2019 | archive-date=10 August 2020 | archive-url=https://web.archive.org/web/20200810122224/http://www.centrostudipierpaolopasolinicasarsa.it/molteniblog/lamore-impossibile-tra-ppp-e-maria-callas-nel-film-lisola-di-medea-di-sergio-naitza/ | url-status=live }}</ref> Pasolini was also sensible to the problematics related to the "new" role ascribed to women through the Italian media, stating in a 1972 interview that "women are not slot machines".<ref>{{cite web | url=http://www.centrostudipierpaolopasolinicasarsa.it/molteniblog/pasolini-e-le-donne-oggetto-del-piccolo-schermo/ | title=Pasolini e le donne-oggetto del piccolo schermo | date=2 June 2017 | access-date=29 May 2019 | archive-date=11 September 2019 | archive-url=https://web.archive.org/web/20190911062845/http://www.centrostudipierpaolopasolinicasarsa.it/molteniblog/pasolini-e-le-donne-oggetto-del-piccolo-schermo/ | url-status=live }}</ref>

He was a supporter of his hometown football club Bologna.<ref>{{Cite web |last=Twitty |first=Thalia |date=2022-04-18 |title=Pasolini's greatest passion: football |url=https://www.wireservice.ca/pasolinis-greatest-passion-football/ |access-date=2023-08-11 |website=Wire Service Canada |language=en-CA |archive-date=11 August 2023 |archive-url=https://web.archive.org/web/20230811014546/https://www.wireservice.ca/pasolinis-greatest-passion-football/ |url-status=live }}</ref>

== Political views == [[File:Gramsci Pasolini.jpg|thumb|250px|Pasolini visiting Antonio Gramsci's tomb in Rome]] {{Communism in Italy|expanded=People}}

=== Relationship with the Italian Communist Party === [[File:SanVitoT-piazzadelpopolo.jpg|thumb|250px|Piazza del Popolo in San Vito al Tagliamento]] By October 1945, the political status of the Friuli region became a matter of contention between different political factions. On 30 October, Pasolini joined the pro-devolution association ''Patrie tal Friul'', founded in Udine. Pasolini wanted a Friuli based on its tradition, attached to the Catholic Church in Italy, but intent on civic and social progress, as opposed to those advocates of regional autonomy who wanted to preserve their privileges based on "immobilism".<ref name="Siciliano, Enzo. 2014, 111-112">Siciliano, Enzo. 2014, 111–112</ref> He also criticized the Italian Communist Party (PCI) for its opposition to regional devolution and preference instead for State centralisation. Pasolini founded the party Movimento Popolare Friulano, but resigned upon realizing that it was being covertly manipulated by Italy's ruling Christian Democratic Party to counter local Titoists, who were attempting to annex large swaths of the Friuli region to the Socialist Federal Republic of Yugoslavia.<ref name="Siciliano, Enzo. 2014, 111-112"/>

On 26 January 1947, Pasolini wrote a declaration that was published on the front page of the newspaper ''Libertà'': "In our opinion, we think that currently only Communism is able to provide a new culture." It generated controversy, partly due to the fact he was still not a member of the PCI. Pasolini planned to extend the work of the Academiuta to the literature of other Romance languages, and met exiled Catalan poet Carles Cardó. He took part in several demonstrations after joining the PCI. In May 1949, he attended the Peace Congress in Paris. Observing the struggles of workers and peasants, and watching the clashes of protesters with Italian police, he began to conceive his first novel. During this period, while holding a position as a teacher in a secondary school, he stood out in the local Italian Communist Party section as a skilful writer, while defying the official Party platform that Stalinism was anti-Christian. Along with the Party leadership, local Christian Democrats and Catholic clergy also took notice. In the summer of 1949, Pasolini was warned by a Roman Catholic priest to renounce Marxism-Leninism or lose his teaching position. Similarly, after some posters were put up in Udine, Giambattista Caron, a Christian Democrat deputy, warned Pasolini's cousin Nico Naldini that "[Pasolini] should abandon communist propaganda" to prevent "pernicious reactions".<ref name="Siciliano, Enzo. 2014, 148">Siciliano, Enzo. 2014, 148</ref>

=== Anti-fascism and 1968 protests === Pasolini generated heated public discussion with controversial analyses of public affairs. For instance, autonomist university students were carrying on a guerrilla-style uprising against the police in the streets of Rome during the disorders of 1968. For their supporters, the disorders were a civil fight of the proletariat against the system. Pasolini made comments that have been interpreted that he was with the police or that he was a man of order, and that he was an anti-anti-fascist.<ref name="Centro Studi Pier Paolo Pasolini 2018">{{Cite web |date=2018-02-25 |title=Contro le strumentalizzazioni di Pasolini: il falso dell"anti-antifascismo", di Wu Ming 1 |url=http://www.centrostudipierpaolopasolinicasarsa.it/approfondimenti/contro-le-strumentalizzazioni-di-pasolini-il-falso-dellanti-antifascismo-di-wu-ming-1/ |access-date=2023-09-25 |website=Centro Studi Pier Paolo Pasolini Casarsa della Delizia |language=it-IT |archive-date=4 October 2023 |archive-url=https://web.archive.org/web/20231004231759/http://www.centrostudipierpaolopasolinicasarsa.it/approfondimenti/contro-le-strumentalizzazioni-di-pasolini-il-falso-dellanti-antifascismo-di-wu-ming-1/ |url-status=live }}</ref> According to the Centro Studi, Pier Paolo Pasolini, the myth of an "anti-anti-fascist" Pasolini served to propose unlikely anti-globalist alliances by neo-fascists.<ref name="Centro Studi Pier Paolo Pasolini 2018"/> ''Anti-antifascismo'' was never used by Pasolini and was only added in later years as the title of the ''Scritti corsari'' collection.<ref name="Centro Studi Pier Paolo Pasolini 2018"/> Pasolini used the concept to attack various institutional subjects, such as Christian Democracy, the Italian president Giuseppe Saragat, RAI, and the Health Commission of the Chamber of Deputies, which were all guilty of ignoring some requests from Marco Pannella, who had been on hunger strike for over two months.<ref name="Centro Studi Pier Paolo Pasolini 2018"/> He excluded the PCI from those parties of the constitutional arc that, as declared by Pasolini in June 1975, tried to "rebuild an anti-fascist virginity ... but, at the same time, maintaining the impunity of the fascist gangs that they, if they wanted, would liquidate in a day".<ref name="Centro Studi Pier Paolo Pasolini 2018"/>

The main source regarding Pasolini's views of the student movement is his poem "Il PCI ai giovani" ('The PCI to Young People'), written after the Battle of Valle Giulia. Addressing the students, he tells them that, unlike the international news media which has been reporting on them, he will not flatter them. He points out that they are the children of the bourgeoisie (''Avete facce di figli di papà / Vi odio come odio i vostri papà'' – 'You have the faces of daddy's boys / I hate you like I hate your dads'), before stating ''Quando ieri a Valle Giulia avete fatto a botte coi poliziotti / io simpatizzavo coi poliziotti'' ('When you and the policemen were throwing punches yesterday at Valle Giulia / I was sympathising with the policemen'). He explained that this sympathy was because the policemen were ''figli di poveri'' ('children of the poor'). The poem highlights the aspect of generational struggle within the bourgeoisie represented by the student movement: ''Stampa e Corriere della Sera, News- week e Monde / vi leccano il culo. Siete i loro figli / la loro speranza, il loro futuro... Se mai / si tratta di una lotta intestina'' ('''Stampa'' and ''Corriere della Sera'', ''Newsweek'' and ''Le Monde'' / they kiss your arse. You are their children / their hope, their future... If anything / it's in-fighting').<ref name="pci" />

The 1968 revolt was seen by Pasolini as an internal, benign reform of the establishment in Italy, since the protesters were part of the petite bourgeoisie.<ref>Martelini, L. 2006, pp. 141–142</ref> The poem also implied a class hypocrisy on the part of the establishment towards the protesters, asking whether young workers would be treated similarly if they behaved in the same way: ''Occupate le università / ma dite che la stessa idea venga / a dei giovani operai / E allora: Corriere della Sera e Stampa, Newsweek e Monde / avranno tanta sollecitudine / nel cercar di comprendere i loro problemi? / La polizia si limiterà a prendere un po' di botte / dentro una fabbrica occupata? / Ma, soprattutto, come potrebbe concedersi / un giovane operaio di occupare una fabbrica / senza morire di fame dopo tre giorni?'' ('Occupy the universities / but say that the same idea comes / to young workers / So: ''Corriere della Sera'' and ''Stampa'', ''Newsweek'' and ''Le Monde'' / will have so much care / in trying to understand their problems? / Will the police just get a bit of a fight / inside an occupied factory? / But above all, how could / a young worker be allowed to occupy a factory / without dying of hunger after three days?')<ref name="pci">{{cite magazine |last=Pasolini |first=Pier Paolo |date=16 June 1968 |title=Il Pci ai giovani |trans-title=The PCI to Young People |url=http://temi.repubblica.it/espresso-il68/1968/06/16/il-pci-ai-giovani/?printpage=undefined |language=it |magazine=L'Espresso |access-date=8 June 2018 |archive-date=12 June 2018 |archive-url=https://web.archive.org/web/20180612144202/http://temi.repubblica.it/espresso-il68/1968/06/16/il-pci-ai-giovani/?printpage=undefined |url-status=live }}</ref>

Pasolini suggested that the police were the true proletariat, sent to fight for a poor salary and for reasons which they could not understand, against pampered boys of their same age because they had not had the fortune of being able to study, referring to ''poliziotti figli di proletari meridionali picchiati da figli di papà in vena di bravate'' ('policemen, sons of proletarian southerners, beaten up by arrogant daddy's boys'). He found that the policemen were but the outer layer of the real power, e.g. the judiciary.<ref>Martelini, L. 2006, p. 141</ref> Pasolini was not alien to courts and trials. During all his life, Pasolini was frequently entangled in up to 33 lawsuits filed against him, variously charged with "public disgrace", "foul language", "obscenity", "pornography", "contempt of religion", and "contempt of the state", for which he was always eventually acquitted.<ref>{{Cite web |title=Pasolini e i processi |url=https://webtv.loescher.it/externalResources/downloadRes?resId=367205&itemId=366913 |access-date=25 September 2023 |website=Loescher Editore |language=it |archive-date=22 December 2023 |archive-url=https://web.archive.org/web/20231222191248/https://webtv.loescher.it/externalResources/downloadRes?resId=367205&itemId=366913 |url-status=live }}</ref><ref>{{Cite web |last=Damato |first=Cosimo Damiano |date=2022-05-22 |title=Pier Paolo Pasolini e il libro bianco delle persecuzioni |url=https://rewriters.it/pier-paolo-pasolini-e-il-libro-bianco-delle-persecuzioni/ |access-date=2023-09-25 |website=ReWriters |language=it-IT |archive-date=22 December 2023 |archive-url=https://web.archive.org/web/20231222191249/https://rewriters.it/pier-paolo-pasolini-e-il-libro-bianco-delle-persecuzioni/ |url-status=live }}</ref>

The conventional interpretation of Pasolini's position has been challenged.<ref name="Centro Studi Pier Paolo Pasolini 2018"/> In an article published in 2015, Wu Ming argued that Pasolini's statements need to be understood in the context of Pasolini's self-confessed hatred of the bourgeoisie which had persecuted him for so long, as "Il PCI ai giovani" states that "We (i.e. Pasolini and the students) are obviously in agreement against the police institution", and that the poem portrays policemen as dehumanised by their work. Although the battles between students and the police were fights between the rich and the poor, Pasolini concedes that the students were "on the side of reason" whilst the police were "in the wrong". Wu Ming suggested that Pasolini intended to express scepticism regarding the idea of students being a revolutionary force, contending that only the working class could make a revolution and that revolutionary students should join the PCI. Furthermore, he cites a column by Pasolini which was published in the magazine ''Tempo'' later that year, which described the student movement, along with the wartime resistance, as "the Italian people's only two democratic-revolutionary experiences". That year, he also wrote in support of the PCI's proposals for disarming the police, arguing that this would create a break in the psychology of policemen. He said: "It would lead to the sudden collapse of that 'false idea of himself' ascribed to him by Power, which has programmed him like a robot." Pasolini's polemics were aimed at goading protesters into re-thinking their revolt, and did not stop him from contributing to the autonomist ''Lotta Continua'' movement, who he described as "extremists, yes, maybe fanatic and insolently boorish from a cultural point of view, but they push their luck and that is precisely why I think they deserve to be supported. We must want too much to obtain a little."<ref>{{cite web|url=https://www.internazionale.it/reportage/2015/10/29/pasolini-polizia-anniversario-morte|title=La polizia contro Pasolini, Pasolini contro la polizia|author=Wu Ming 1|author-link=Wu Ming|date=29 October 2015|website=Internazionale.it|language=it|trans-title=The Police vs. Pasolini, Pasolini vs. The Police|access-date=8 June 2018|archive-date=12 June 2018|archive-url=https://web.archive.org/web/20180612144806/https://www.internazionale.it/reportage/2015/10/29/pasolini-polizia-anniversario-morte|url-status=live}}</ref><ref name="Wu Ming 2016">{{cite web |url=http://wumingfoundation.tumblr.com/post/136530231760/pasoliniagainstthecops |title=The Police vs. Pasolini, Pasolini vs. The Police|author=Wu Ming 1 |author-link=Wu Ming |last2=Meer |first2=Ayan |date=3 January 2016|website=Wu Ming Foundation |access-date=8 June 2018|via=Tumblr}}</ref>

=== Rising society of consumption === Pasolini was particularly concerned about the class of the subproletariat, which he portrayed in ''Accattone'', and to which he felt both humanly and artistically drawn. He observed that the type of purity which he perceived in the pre-industrial popular culture was rapidly vanishing, a process that he named ''la scomparsa delle lucciole'' ('the disappearance of the fireflies'). The ''joie de vivre'' of boys was being rapidly replaced with more bourgeois ambitions such as a house and a family. He was critical of those leftists who held a "traditional and never admitted hatred against lumpenproletariats and poor populations". In 1958, he called on the PCI to become "'the party of the poor people': the party, we may say, of the lumpenproletarians".<ref name="jacobin">{{cite web |url=https://jacobinmag.com/2018/06/pier-paolo-pasolini-pci-communist-party |title=Remembering Pier Paolo Pasolini |last=Peretti |first=Luca |date=1 June 2018 |website=Jacobin |access-date=7 June 2018 |archive-date=10 June 2018 |archive-url=https://web.archive.org/web/20180610182933/http://www.jacobinmag.com/2018/06/pier-paolo-pasolini-pci-communist-party |url-status=live }}</ref>

Pasolini's stance finds its roots in the belief that a Copernican change was taking place in Italian society and the world. Linked to that very idea, he was also an ardent critic of ''consumismo'', i.e. consumerism, which he felt had rapidly destroyed Italian society from the mid-1960s to the early 1970s. He described the coprophagia scenes in ''Salò'' as a comment on the processed food industry. As he saw it, the society of consumerism ("neocapitalism") and the "new fascism" had thus expanded an alienation / homogenization and centralization that the former clerical fascism had not managed to achieve, so bringing about an anthropological change.<ref>Martelini, L. 2006, pp. 184–185</ref> That change is related to the loss of humanism and the expansion of productivity as central to the human condition, which he despised. He found that 'new culture' was degrading and vulgar.<ref>Siciliano, Enzo. 2014, p. 389</ref> In one interview, he said: "I hate with particular vehemency the current power, the power of 1975, which is a power that manipulates bodies in a horrible way; a manipulation that has nothing to envy to that performed by Himmler or Hitler." According to Pasolini scholar Simona Bondavalli, Pasolini's definition of neo-capitalism as a "new fascism" enforced uniform conformity without resorting to coercive means. As Pasolini put it, "No Fascist centralism succeeded in doing what the centralism of consumer culture did."<ref>{{cite book |last=Bondavalli |first=Simona |title=Fictions of Youth: Pier Paolo Pasolini, Adolescence, Fascisms |date=2015 |publisher=University of Toronto Press |isbn=9781442627079 |location=Toronto, ON}}</ref> Philosopher Davide Tarizzo summarized Pasolini's position: {{cquote|"In his view, both old and new fascisms undermine the fundamentals of modern democracy. Yet new fascism does not do this by absolutizing popular sovereignty at the expense of individual rights. New fascism celebrates our freedoms and absolutizes human rights to the detriment of our sense of belonging to a social-political community. Therefore, old and new fascisms strive to accomplish democracy—which is the restless ambition of fascism—via opposite routes. In the former case, the result is the birth of political subjects such as the master race, supported by revelatory political grammar. In the latter case, the result is the birth of an altogether different subject, which is no longer a political actor, properly speaking, but a passive, anonymous entity: the human population."<ref>{{cite book |last=Tarizzo |first=Davide |title=Political grammars: the unconscious foundations of modern democracy |date=2021 |publisher=Stanford University Press |page=163 |isbn=9781503615328 |location=Stanford, CA |series=Square One: First Order Questions in the Humanities}}</ref>}}

=== Strong criticism of Christian Democracy === thumb|right|200px|Pasolini in 1975 Pasolini saw some continuity between the Fascist era and the post-war political system which was led by the Christian Democrats, describing the latter as "clerico-fascism" due to its use of the state as a repressive instrument and its manipulation of power: he saw the conditions among the Roman subproletariat in the ''borgate'' as an example of this, being marginalised and segregated socially and geographically as they were under Fascism, and in conflict with a criminal police force.<ref name="Wu Ming 2016" /> He also blamed the Christian Democrats for assimilating the values of consumer capitalism, contributing to what he saw as the erosion of human values.<ref name="od">{{cite web |url=https://www.opendemocracy.net/en/pasolini_2982jsp/ |title=The life and death of Pier Paolo Pasolini |last=Andrews |first=Geoff |date=1 November 2005 |website=OpenDemocracy |access-date=7 November 2022 |archive-date=7 November 2022 |archive-url=https://web.archive.org/web/20221107194839/https://www.opendemocracy.net/en/pasolini_2982jsp/ |url-status=live }}</ref>

The 1975 Italian regional elections saw the rise of the leftist parties, and dwelling on his blunt, ever more political approach and prophetic style during this period, he declared in ''Corriere della Sera'' that the time had come to put the most prominent Christian Democrat figures on trial, where they would need to be shown walking in handcuffs and led by the Carabinieri; he felt that this was the only way they could be removed from power.<ref name="od" /><ref name="Siciliano, Enzo. 2014, pp. 388-389">Siciliano, Enzo. 2014, pp. 388–389</ref> Pasolini charged the Christian Democratic leadership with being "riddled with Mafia influence", covering up a number of bombings by neo-fascists, collaborating with the CIA, and working with the CIA and the Italian Armed Forces to prevent the rise of the left.<ref name="guardian"/><ref name="od" />

=== Television linked to cultural alienation === Pasolini was angered by economic globalization and cultural domination of the north of Italy (around Milan) over other regions, especially the south.{{citation needed|reason=|date=July 2011}} He felt this was accomplished through the power of television. A debate TV programme recorded in 1971, where he denounced censorship, was not actually aired until the day following his murder in November 1975. In a PCI reform plan that he drew up in September and October 1975, among the desirable measures to be implemented, he cited the abolition of television.<ref name="Siciliano, Enzo. 2014, pp. 388-389"/>

=== Others === [[File:Walter Veltroni 01.jpg|thumb|250px|right|Pasolini between Ferdinando Adornato and Walter Veltroni during an anti-francoist demonstration in Rome in September 1975]] Pasolini opposed the gradual disappearance of Italy's minority languages by writing some of his poetry in Friulan, the regional language of his childhood. His opposition to the liberalization of abortion law made him unpopular on the left.<ref>{{cite web |last=Liukkonen |first=Petri |url=http://www.kirjasto.sci.fi/pasolini.htm |title=Pier Paolo Pasolini |website=Books and Writers (kirjasto.sci.fi) |publisher=Kuusankoski Public Library |location=Finland |archive-url=https://web.archive.org/web/20060307182247/http://www.kirjasto.sci.fi/pasolini.htm |archive-date=7 March 2006 |url-status=dead}}</ref>

After 1968, Pasolini engaged with the left-libertarian, anti-clerical, and liberal Radical Party (''Partito Radicale''). He involved himself in polemics with party leader Marco Pannella,<ref name="od" /><ref>{{cite web |url=http://www.radioradicale.it/exagora/conversation-with-pier-paolo-pasolini |title=Conversation with Pier Paolo Pasolini |author= |website=Radio Radicale |access-date=7 June 2018 |archive-date=12 June 2018 |archive-url=https://web.archive.org/web/20180612141319/http://www.radioradicale.it/exagora/conversation-with-pier-paolo-pasolini |url-status=dead }}</ref> supported the Party's initiative calling for eight referendums on various liberalising reforms,<ref name="rr">{{cite news |last=Pasolini |first=Pier Paolo |date=1 January 1975 |title=L'aborto il coito |trans-title=Abortion, Copulation |url=http://www.radioradicale.it/exagora/abortion-copulation |work=Corriere della Sera |access-date=8 June 2018 |archive-date=12 June 2018 |archive-url=https://web.archive.org/web/20180612142021/http://www.radioradicale.it/exagora/abortion-copulation |url-status=dead}}</ref> and had accepted an invitation to speak at the Party's congress before he was killed.<ref name="jacobin" /> Despite supporting the holding of a referendum on the decriminalisation of abortion, he was opposed to actually decriminalising it,<ref name="rr" /> and he also criticised the Party's understanding of democratic activism as being a matter of equalising access to capitalist markets for the working class and other subaltern groups.<ref>{{cite book |last=Rumble |first=Patrick |year=1996 |title=Allegories of Contamination: Pier Paolo Pasolini's Trilogy of Life |url=https://books.google.com/books?id=8YyhCgAAQBAJ&q=%22pier+paolo+pasolini%22+and+%22radical+party%22&pg=PA136 |series=Toronto Italian Studies |publisher=University of Toronto Press |page=136 |isbn=9780802072191 |access-date=8 June 2018}}</ref> In an interview he gave shortly before his death, Pasolini stated he frequently disagreed with the Party.<ref>{{cite news |last1=Colombo |first1=Furio |last2=Battista |first2=Anna |date=8 November 1975 |title=Siamo tutti in pericolo |trans-title=We are all in danger |url=http://irenebrination.typepad.com/files/pierpaolopasolini_furiocolombointerview_1975_byabattista.pdf |work=La Stampa |access-date=8 June 2018 |archive-date=28 March 2018 |archive-url=https://web.archive.org/web/20180328215059/http://irenebrination.typepad.com/files/pierpaolopasolini_furiocolombointerview_1975_byabattista.pdf |url-status=live }}</ref> He continued to give qualified support to the PCI.<ref name="od" /> in June 1975, he said that he would still vote for the PCI because he felt it was "an island where critical consciousness is always desperately defended: and where human behaviour has been still able to preserve the old dignity", and in his final months he became close to the Rome section of the Italian Communist Youth Federation. A Federation activist, Vincenzo Cerami, delivered the speech he was due to give at the Radical Party congress: in it, Pasolini confirmed his Marxism and his support for the PCI.<ref name="jacobin" />

Outside of Italy, Pasolini took a particular interest in the developing world, seeing parallels between life among the Italian underclass and in the third world, going so far as to declare that Bandung was the capital of three-quarters of the world and half of Italy. He was also positive about the New Left in the United States, predicting that it would "lead to an original form of non-Marxist Socialism" and writing that the movement reminded him of the Italian Resistance. Pasolini saw these two areas of struggle as inter-linked: after visiting Harlem he stated that "the core of the struggle for the Third World revolution is really America".<ref name="jacobin" />

== {{anchor|Murder}}Murder == thumb|The discovery of Pier Paolo Pasolini's body

Pasolini was murdered on 2 November 1975 at a beach in Ostia.<ref>{{Cite web|url=https://ilglobo.com.au/news/33313/the-violent-death-of-inconvenient-intellect-pier-paolo-pasolini/|title=The violent death of "inconvenient" intellect, Pier Paolo Pasolini — Italianmedia|website=ilglobo.com.au|access-date=October 20, 2019|archive-url=https://web.archive.org/web/20200811183745/https://ilglobo.com/news/the-violent-death-of-inconvenient-intellect-pier-paolo-pasolini-33313/|archive-date=August 11, 2020}}</ref> Almost unrecognizable, Pasolini was savagely beaten, and run over several times with his own car. Multiple bones were broken and his testicles were crushed by what appeared to have been a metal bar.<ref name=":0" /><ref>{{cite book |last=Barber |first=Stephen |author-link=Stephen Barber (writer) |date=July 17, 2020 |title=The Massacre Game Pasolini: Terminal Film, Text, Words |publisher=Elektron Ebooks |isbn=9781909923072}}</ref> An autopsy revealed that his body had been partially burned with petrol after his death. The crime was long viewed as a Mafia-style revenge killing, one that was extremely unlikely to have been carried out by only one person. Pasolini was buried at the cemetery of Casarsa della Delizia.

Giuseppe "Pino" Pelosi (1958–2017), then 17 years old, was caught driving Pasolini's car and confessed to the murder. He was convicted and sentenced to nine years in prison in 1976,<ref name=":0" /> initially with "unknown others", but that phrase was later removed from the verdict.<ref name="guardian">{{cite web |url=https://www.theguardian.com/world/2014/aug/24/who-really-killed-pier-paolo-pasolini-venice-film-festival-biennale-abel-ferrara |title=Who really killed Pier Paolo Pasolini? |last=Vulliamy |first=Ed |date=24 August 2014 |work=The Guardian |access-date=12 May 2017 |archive-date=5 September 2014 |archive-url=https://web.archive.org/web/20140905125452/https://www.theguardian.com/world/2014/aug/24/who-really-killed-pier-paolo-pasolini-venice-film-festival-biennale-abel-ferrara |url-status=live }}</ref><ref name="independent">{{cite news |last=Gumbell |first=Andrew |url=https://www.independent.co.uk/arts-entertainment/who-killed-pasolini-1602381.html |archive-url=https://ghostarchive.org/archive/20220526/https://www.independent.co.uk/arts-entertainment/who-killed-pasolini-1602381.html |archive-date=26 May 2022 |url-access=subscription |url-status=live |title=Who killed Pasolini? |work=The Independent |date=23 September 1995 |access-date=25 May 2015}}</ref> Twenty-nine years later, on 7 May 2005, Pelosi retracted his confession, which he said had been made under the threat of violence to his family.<ref>{{Cite web |date=2024 |title=Who really murdered Pier Paolo Pasolini? |url=https://www.ft.com/content/c42a46b1-5e3e-44d8-af6e-81831772b7af |website=Financial Times |access-date=26 August 2024 |archive-date=26 August 2024 |archive-url=https://web.archive.org/web/20240826013353/https://www.ft.com/content/c42a46b1-5e3e-44d8-af6e-81831772b7af |url-status=live }}</ref> He claimed that three people "with a southern accent" had committed the murder, while insulting Pasolini as a "dirty communist."<ref>{{cite news |url=https://news.bbc.co.uk/2/hi/entertainment/4529877.stm |title=Pasolini death inquiry reopened |last=Cataldi |first=Benedetto |date=5 May 2005 |website=BBC |archive-date=12 October 2025 |access-date=15 September 2025 |archive-url=https://web.archive.org/web/20251012203931/http://news.bbc.co.uk/2/hi/entertainment/4529877.stm |url-status=live }}</ref>

Other evidence uncovered in 2005 suggested that Pasolini had been murdered by an extortionist. Testimony by his friend Sergio Citti indicated that some of the rolls of film from ''Salò, or the 120 Days of Sodom'' had been stolen, and that Pasolini planned to meet with and negotiate its return from the thieves on 2 November 1975 following a visit to Stockholm, Sweden.<ref>{{cite web |title=Asesinato de Pasolini, nueva investigación |url=http://www.razon.com.mx/spip.php?article29280 |work=La Razón |access-date=4 July 2012 |language=es |archive-url=https://web.archive.org/web/20170702125218/http://www.razon.com.mx/spip.php?article29280 |archive-date=2 July 2017 |url-status=dead }}</ref><ref>{{cite web |title=Pasolini de nuevo |url=http://www.milenio.com/cdb/doc/impreso/8742252 |archive-url=https://archive.today/20120629014013/http://www.milenio.com/cdb/doc/impreso/8742252 |url-status=dead |archive-date=29 June 2012 |work=Sentido contrario |publisher=Grupo Milenio |access-date=4 July 2012 |author=Héctor Rivera|language=it|date=28 March 2010}}</ref><ref>{{cite web |title=Pier Paolo Pasolini (1922–1975) |url=http://www.cinematismo.com/biografias/pier-paolo-pasolini-1922-1975/ |publisher=Cinematismo |access-date=4 July 2012 |language=it |archive-date=12 August 2014 |archive-url=https://web.archive.org/web/20140812102235/http://www.cinematismo.com/biografias/pier-paolo-pasolini-1922-1975/ |url-status=dead }}</ref><ref>[https://docs.google.com/viewer?a=v&q=cache:ouU8zYEgmXMJ:rassegnastampa.mef.gov.it/mefinternazionale/PDF/2010/2010-04-02/2010040215372121.pdf+muerte+de+pasolini-+rollos+robados&hl=es&gl=co&pid=bl&srcid=ADGEESg_Hz3kNu-APpn4-A1D42JjsI01jWmCc2RU0zb8ji3iX5Me-8LlK1uyuIo3mo0-NebUSyoFpa3dPHTIiOtQfs1b07D-_EhM_NYQjqCIObthlxA86VQDWnhZ7wpjQmFbzWDkBQuy&sig=AHIEtbROrSJpidVdGjEyfEHWL7gELlXFTw Google Drive Viewer] {{Webarchive|url=https://web.archive.org/web/20240607014116/https://docs.google.com/viewer?a=v&q=cache:ouU8zYEgmXMJ:rassegnastampa.mef.gov.it/mefinternazionale/PDF/2010/2010-04-02/2010040215372121.pdf+muerte+de+pasolini-+rollos+robados&hl=es&gl=co&pid=bl&srcid=ADGEESg_Hz3kNu-APpn4-A1D42JjsI01jWmCc2RU0zb8ji3iX5Me-8LlK1uyuIo3mo0-NebUSyoFpa3dPHTIiOtQfs1b07D-_EhM_NYQjqCIObthlxA86VQDWnhZ7wpjQmFbzWDkBQuy&sig=AHIEtbROrSJpidVdGjEyfEHWL7gELlXFTw |date=7 June 2024 }}. Google, 2 April 2010. Retrieved 22 May 2014.</ref> Citti's investigation uncovered additional evidence, including a bloody wooden stick and an eyewitness who said he saw a group of men pull Pasolini from the car.<ref name="guardian"/><ref name="independent"/> The Rome police reopened the murder as a cold case after Pelosi's retraction, but the investigative magistrates responsible for the investigation found that the new elements were insufficient to justify a continued inquiry.

Speculation that Pasolini's murder was connected to the Propaganda Due (P2) masonic lodge emerged in the 1990s, after his writings were revealled to have linked the P2 member Eugenio Cefis with violent crimes.<ref>{{Cite news |title=Pier Paolo Pasolini's mysterious death continues to haunt Italy, 50 years on |url=https://www.lemonde.fr/en/m-le-mag/article/2025/07/19/pier-paolo-pasolini-s-mysterious-death-continues-to-haunt-italy-50-years-on_6743514_117.html |archive-url=http://web.archive.org/web/20250807001438/https://www.lemonde.fr/en/m-le-mag/article/2025/07/19/pier-paolo-pasolini-s-mysterious-death-continues-to-haunt-italy-50-years-on_6743514_117.html |archive-date=2025-08-07 |access-date=2026-03-12 |work=Le Monde.fr |language=en-US}}</ref><ref>{{Cite news |last=Vulliamy |first=Ed |date=2014-08-23 |title=Who really killed Pier Paolo Pasolini? |url=https://www.theguardian.com/world/2014/aug/24/who-really-killed-pier-paolo-pasolini-venice-film-festival-biennale-abel-ferrara |access-date=2026-03-12 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref><ref>{{Cite web |title=Pier Paolo Pasolini |url=https://www.historicalmaterialism.org/figure/pier-paolo-pasolini/ |access-date=2026-03-12 |website=Historical Materialism |language=en}}</ref><ref>{{Cite web |title=The life and death of Pier Paolo Pasolini |url=https://www.opendemocracy.net/en/pasolini_2982jsp/ |access-date=2026-03-12 |website=openDemocracy |language=en}}</ref> As of 2023, a plea to reopen the case was filed based on DNA analysis and links the murder to the Banda della Magliana, a criminal organisation with close ties to P2 and far-right terrorism, as the probable culprits.<ref name=":0" /><ref>{{Cite web |last=Bologna|first=Sentenza della Corte d'Assise di|title=Il giudice Occorsio e i legami fra P2, fascisti e Banda della Magliana|url=https://www.editorialedomani.it/il-giudice-occorsio-e-i-legami-fra-p2-fascisti-e-banda-della-magliana-hwizdp79|access-date=2026-03-13|website=www.editorialedomani.it|language=it-it}}</ref><ref>{{Cite web |last=Limiti|first=Stefania|date=2024-11-19|title=Stragi, mafia e P2: la necessità di rifare la storia|url=https://www.micromega.net/mafia-p2-e-stragi-rifare-la-storia/|access-date=2026-03-13|website=Micromega|language=it}}</ref>

== Legacy == As a director, Pasolini created a picaresque neorealism, showing a sad reality. Many people did not want to see such portrayals in artistic work for public distribution. ''Mamma Roma'' (1962), featuring Anna Magnani and telling the story of a prostitute and her son, was considered an affront to the public ideals and morality of those times. His works, with their unequalled poetry applied to cruel realities, showed that such realities were less distant from most daily lives, and contributed to changes in the Italian psyche.<ref name="JAM8">{{cite book |title=Il Caos (collected articles) |author=Pier Paolo Pasolini |year=1995 |publisher=Editori Riuniti |location=Rome |language=it}}</ref>

Pasolini's work often engendered disapproval, perhaps primarily because of his frequent focus on sexual behaviour, and the contrast between what he presented and what was publicly sanctioned. While Pasolini's poetry often dealt with his gay love interests, this was not the only, or even main, theme. His interest in and use of Italian dialects should also be noted. Much of the poetry was about his highly revered mother. He depicted certain corners of the contemporary reality as few other poets could do. His poetry, which took some time before it was translated, was not as well known outside Italy as were his films. A collection in English was published in 1996.<ref name="noonday">{{cite book |author=Pier Paolo Pasolini |url=https://books.google.com/books?id=pqzRAIwoq8EC&q=pier+paolo+pasolini+collected+poems |title=Collected Poems |publisher=Noonday Press |year=1996 |isbn=9780374524692}}</ref>

Pasolini also developed a philosophy of language mainly related to his studies on cinema.<ref name="JAM7">{{cite book |url=https://books.google.com/books?id=v0-pPQAACAAJ&q=pier+paolo+pasolini |title=Heretical empiricism |last=Pasolini |first=Pier Paolo |date=1988–2005 |publisher=New Academia Publishing |isbn=9780976704225}}</ref> This theoretical and critical activity was another hotly debated topic. His collected articles and responses are still available today.<ref name="JAM8" /><ref>{{cite book |title=Dibattiti sui film |author=A. Covi |year=1971 |publisher=Gregoriana |location=Padova |language=it}}</ref><ref>{{cite book |title=Scrittori e Popolo – il populismo nella letteratura italiana contemporanea |author=A. Asor Rosa |year=1988 |publisher=Gregoriana |location=Torino |language=it}}</ref>

These studies can be considered the foundation of his artistic point of view: he believed that the language—such as English, Italian, dialect or other—is a rigid system in which human thought is trapped. He also thought that the cinema is the "written" language of reality which, like any other written language, enables man to see things from the point of view of truth.<ref name="JAM7"/>

His films won awards at the Berlin International Film Festival, Cannes Film Festival, Venice Film Festival, Italian National Syndicate for Film Journalists, Jussi Awards, Kinema Junpo Awards, International Catholic Film Office and New York Film Critics Circle. ''The Gospel According to St. Matthew'' was nominated for the United Nations Award of the British Academy of Film and Television Arts (BAFTA) in 1968.

=== In popular culture === Many documentaries and films about Pasolini have been released since the time of his murder, some of which include:

* ''Das Mitleid ist gestorben'', a documentary directed by Ebbo Demant and released in 1978. * In 1986, the avant-garde band Coil released their album ''Horse Rotorvator'', which includes the track "Ostia (The Death of Pasolini)" in tribute to the late filmmaker. * The opening track on Scott Walker's 1995 album ''Tilt'', "Farmer in the City", is subtitled "Remembering Pasolini". Some of the lyrics are appropriated from Norman MacAfee's English translation of Pasolini's poem, "Uno dei tanti epiloghi" ("One of the Many Epilogs"), which was written in 1969. * ''Who Killed Pasolini?'', directed by Marco Tullio Giordana in 1995. The film reconstructs the trial of Pino Pelosi, accused of Pasolini's murder. * ''Re: Pasolini'', made by Stefano Battaglia in 2005, was dedicated to Pasolini. * ''Pasolini'', directed by Abel Ferrara. A 2014 biopic directed about Pasolini, with Willem Dafoe in the lead role. It was selected to compete for the Golden Lion at the 71st Venice International Film Festival.<ref name="Venice">{{cite web |url=http://www.labiennale.org/en/cinema/71st-festival/line-up/off-sel/venezia71 |title=International competition of feature films |access-date=24 July 2014 |work=Venice |url-status=dead |archive-url=https://web.archive.org/web/20141006083927/http://www.labiennale.org/en/cinema/71st-festival/line-up/off-sel/venezia71/ |archive-date=6 October 2014 }}</ref><ref name="Deadline">{{cite magazine |date= |title=Venice Film Festival Lineup Announced |url=https://deadline.com/2014/07/venice-film-festival-lineup-2014-movie-list-808803/ |access-date=24 July 2014 |magazine=Deadline Hollywood |archive-date=15 August 2014 |archive-url=https://web.archive.org/web/20140815043741/https://deadline.com/2014/07/venice-film-festival-lineup-2014-movie-list-808803/ |url-status=live }}</ref> * ''PPPasolini'', directed by Malga Kubiak, a drama movie based on the story of Pier Paolo Pasolini's life and death, released in 2015. The movie was screened at the seventh edition of the LGBT Film Festival in Warsaw, and received a People's Choice Award at the festival.<ref name="LGBT Film Festival In Warsaw">{{cite web |url=http://www.lgbtfestival.pl/program---program.html |title=7th edition of LGBT Film Festival in Warsaw |access-date=5 April 2016 |work=Warszawa |url-status=dead |archive-url=https://web.archive.org/web/20160414034113/http://www.lgbtfestival.pl/program---program.html |archive-date=14 April 2016 }}</ref> * ''La macchinazione'', directed by his former collaborator David Grieco, a 2016 biopic on the last hours of Pasolini's life starring Massimo Ranieri as Pasolini.<ref>{{cite news|url=https://www.huffingtonpost.it/2016/03/02/pier-paolo-pasolini-la-macchinazione-david-grieco_n_9365220.html|title=Pier Paolo Pasolini: "La Macchinazione", film di David Grieco, chiede la verità sulla morte del poeta|work=HuffPost|date=2 March 2016|access-date=3 August 2019|archive-date=3 August 2019|archive-url=https://web.archive.org/web/20190803141602/https://www.huffingtonpost.it/2016/03/02/pier-paolo-pasolini-la-macchinazione-david-grieco_n_9365220.html|url-status=live}}</ref>

Since 2021, Tilda Swinton and Olivier Saillard have periodically organised a performance called ''Embodying Pasolini'' where Swinton dons or otherwise interacts with original pieces of costume from Pasolini's films.<ref>{{cite web |last1=Thawley |first1=Dan |author-link=Dan Thawley |title=Embodying Pasolini, Olivier Saillard & Tilda Swinton |url=https://amagazinecuratedby.com/news/embodying-pasolini-tilda-swinton-olivier-saillard/ |website=A Magazine Curated By |access-date=3 November 2025 |date=6 December 2022 |archive-date=10 October 2025 |archive-url=https://web.archive.org/web/20251010065822/https://amagazinecuratedby.com/news/embodying-pasolini-tilda-swinton-olivier-saillard/ |url-status=live }}</ref><ref>{{cite web |title=Embodying Passolini |url=https://www.onassis.org/whats-on/embodying-pasolini-olivier-saillard-tilda-swinton |website=Onassis Foundation |access-date=3 November 2025 |date=c. 2023 |archive-date=6 December 2025 |archive-url=https://web.archive.org/web/20251206071205/https://www.onassis.org/whats-on/embodying-pasolini-olivier-saillard-tilda-swinton |url-status=live }}</ref><ref>{{cite web |title=EMBODYING PASOLINI |url=https://malta-festival.pl/en/program-event/embodying-pasolini/ |website=Malta Festival Poznań |access-date=3 November 2025 |date=c. 2025 |archive-date=19 January 2026 |archive-url=https://web.archive.org/web/20260119205831/https://malta-festival.pl/en/program-event/embodying-pasolini/ |url-status=live }}</ref><ref>{{cite web |last1=Czech |first1=Katarzyna |title=Teatr Telewizji. "Embodying Pasolini" z Tildą Swinton już 3 listopada |url=https://e-teatr.pl/63149 |website={{ill|e-Teatr|pl|e-teatr.pl}} |access-date=3 November 2025 |language=pl |date=31 October 2025 |archive-date=28 December 2025 |archive-url=https://web.archive.org/web/20251228085932/https://e-teatr.pl/63149 |url-status=live }}</ref>

''The Silver Book'' by Olivia Laing is a novel about the making of Salò, or the 120 Days of Sodom and the murder of Pasolini in 1975.<ref>{{cite news |last1=Laing |first1=Olivia |title=What did Pasolini Know |url=https://www.theguardian.com/books/2025/nov/01/what-did-pasolini-know-fifty-years-after-his-brutal-the-directors-vision-of-fascism-is-more-urgent-than-ever |access-date=20 March 2026 |publisher=Guardian}}</ref>

== Filmography == {{Expand section|date=November 2024}} {| class="wikitable plainrowheaders" style="margin-right:auto; margin-right:auto; width:100%;" style="text-align:center; ! scope=col | Year ! scope=col | Title ! scope=col | Writer ! scope=col | Director ! scope=col | Soundtrack ! scope=col | Role ! scope=col | Notes |- |- |- |1955 |''The River Girl'' | {{yes}} | {{no}} | {{no}} |— | |- |1957 |''Nights of Cabiria'' | {{yes}} | {{no}} | {{no}} |— | |- |1958 |''Young Husbands'' | {{yes}} | {{no}} | {{no}} |— | |- |1959 |''Bad Girls Don't Cry'' | {{yes}} | {{no}} | {{no}} |— | |- |rowspan="5"|1960 |''Long Night in 1943'' | {{yes}} | {{no}} | {{no}} |— | |- |''The Hunchback of Rome'' | {{no}} | {{no}} | {{no}} | Monco | |- |''La Dolce Vita'' | {{yes}} | {{no}} | {{no}} |— | |- |''Il bell'Antonio'' | {{yes}} | {{no}} | {{no}} |— | |- |''From a Roman Balcony'' | {{yes}} | {{no}} | {{no}} |— | |- |rowspan="2"|1961 |''Accattone'' | {{yes}} | {{yes}} | {{no}} |— | |- |''Girl in the Window'' | {{yes}} | {{no}} | {{no}} |— | |- |1962 |''Mamma Roma'' | {{yes}} | {{yes}} | {{no}} |— | |- |rowspan="2"|1963 |''Ro.Go.Pa.G.'' | {{yes}} | {{yes}} | {{no}} |— |{{nowrap|Segment: "La ricotta"}} |- |''La rabbia'' | {{yes}} | {{yes}} | {{no}} |— |Documentary |- |1964 |''The Gospel According to St. Matthew'' | {{yes}} | {{yes}} | {{no}} |— | |- |rowspan="2"|1965 |''Love Meetings'' | {{yes}} | {{yes}} | {{no}} |The Interviewer |Documentary |- |''Location Hunting in Palestine'' | {{yes}} | {{yes}} | {{no}} |Himself |Documentary |- |1966 |''The Hawks and the Sparrows'' | {{yes}} | {{yes}} | {{yes}} |— | |- |rowspan="3"|1967 |''Requiescant'' | {{yes}} | {{no}} | {{no}} |Don Juan | |- |''The Witches'' | {{yes}} | {{yes}} | {{no}} |— |Segment: "La Terra vista dalla Luna" |- |''Oedipus Rex'' | {{yes}} | {{yes}} | {{no}} |High Priest | |- |rowspan="3"|1968 |''Teorema'' | {{yes}} | {{yes}} | {{no}} |— | |- |''Appunti per un film sull'India'' | {{yes}} | {{yes}} | {{no}} |Himself |Documentary |- |''Caprice Italian Style'' | {{yes}} | {{yes}} | {{yes}} |— |Segment: "Cosa sono le nuvole?" |- |rowspan="3"|1969 |''Love and Anger'' | {{yes}} | {{yes}} | {{no}} |— |Segment: "La sequenza del fiore di carta" |- |''Pigsty'' | {{yes}} | {{yes}} | {{no}} |— | |- |''Medea'' | {{yes}} | {{yes}} | {{no}} |— | |- |rowspan="2"|1970 |''Ostia'' | {{yes}} | {{no}} | {{no}} |— | |- |''Notes Towards an African Orestes'' | {{yes}} | {{yes}} | {{no}} |Narrator (voice) |Documentary |- |1971 |''The Decameron'' | {{yes}} | {{yes}} | {{no}} |Giotto's Pupil |First in the ''Trilogy of Life.'' |- |1972 |''The Canterbury Tales'' | {{yes}} | {{yes}} | {{yes}} |Chaucer |Second in the ''Trilogy of Life.'' |- |1973 |''Bawdy Tales'' | {{yes}} | {{no}} | {{no}} |— | |- |1974 |''Arabian Nights'' | {{yes}} | {{yes}} | {{no}} |— |Third in the ''Trilogy of Life.'' |- |1975 |''Salò, or the 120 Days of Sodom'' | {{yes}} | {{yes}} | {{no}} |— |Released three weeks after his murder. |}

==Bibliography==

===Poetry=== * ''Poesia a Casarsa''. Bologna: Libreria Antiquaria Mario Landi, 1942. * ''Diarii''. Casarsa: Pubblicazioni dell'Academiuta, 1945. * ''Poesie''. San Vito al Tagliamento: Stamperia Primon, 1945. * ''Dov'e la mia patria'' (with thirteen drawings by Giuseppe Zigaina). Casarsa: Edizioni dell'Academiuta, 1949. * ''I pianti''. Casrsa: pubblicazioni dell'Academiuta, 1946. * ''Tal cour d'un frut''. Tricesimo: Edizioni di Lingua Friulana, 1953. * ''La meglio gioventu''. Florence: Sansoni (Biblioteca di ''Paragone''), 1954. * ''Il canto populare''. Milan: Garzanti, 1954 * ''Dal diario (1945-47)''. Caltanissetta: Sciascia, 1954. ** New edition, with an introduction by Leonardo Sciascia and illustrations by G. Mazzullo, 1979. * ''Le ceneri di Gramsci''. Milan: Garzanti, 1957 ** new edition, with critical introduction by Walter Siti, Turin: Einaudi, 1981 * ''L'usignolo della chiesa cattolica''. Milan: Longanesi, 1958. ** New edition, Turin: Einaudi, 1976. * ''Roma 1950: Diario''. Milan: Scheiwiller, 1960. * ''La religione del mio tempo''. Milan: Garzanti, 1961. ** New edition, Turin: Einaudi, 1982. * ''Poesia in forma di rosa''. Milan: Garzanti, 1964. * ''Poesie dimenticate''. Edited by L. Ciceri. Udine: Societa filologica friulana, 1965. * ''Trasumanar e organizzar''. Milan: Garzanti, 1971. * ''La nuova gioventu: Poesie friulane 1941-1974''. Turin: Einaudi, 1975. * ''Le Poesie: Le ceneri di Gramsci. La religione del mio tempo, Poesia in forma di rosa, Trasumanar e organizzar''. Milan: Garzanti, 1975. * ''Pier Paolo Pasolini: Selected Poems''. Translated and edited by Norman MacAfee and Luciano Martinengo. Forward by Enzo Siciliano. Random House: New York, 1982. * ''Roman Poems''. Translated and edited by Lawrence Ferlinghetti and Francesca Valente. Introduction by Alberto Moravia. City Light Books: San Francisco, 1986. * ''Bestemmia: Tutte le poesie''. Edited by Graziella Chiarcossi and Walter Siti, preface by Giovanni Giudici. Milan: Garzanti, 2 vols., 1993 * ''Poesie scelte''. Edited by Nico Naldini and Francesco Zambon. Milan: TEA, 1997. * ''Tutte le poesie''. Edited by Walter Siti. Milan: Mondadori Meridiani, 2 vols., 2003.<ref name="Sartarelli">{{cite book |last1=Pasolini |first1=Pier Paolo |last2=Sartarelli |first2=Stephen |title=The Selected Poetry of Pier Paolo Pasolini |date=2014 |publisher=University of Chicago Press |location=Chicago |isbn=978-0-226-64844-6 |page=283}}</ref> * ''The Selected Poetry of Pier Paolo Pasolini''. Translated and edited by Stephen Sartarelli. Introduction by James Ivory. Chicago: The University of Chicago Press, 2014.

===Fiction=== * ''Ragazzi di vita''. Milan: Garzanti, 1955. ** Translated into English by Emile Capouya as ''The Ragazzi''. New York: Grove Press Books, 1968. ** Translated into English by Ann Goldstein as ''The Street Kids''. : Europa Editions, 2016. ** Translated into English by Tim Parks as ''Boys Alive''. New York: NYRB Classics, 2023. * ''Una vita vioenta''. Milan: Garzanti, 1959. ** New edition, Turin: Einaudi, 1979. ** Translated into English by William Weaver as ''A Violent Life''. London: Jonathan Cape, 1968. * ''Il sogno di una cosa''. Milan: Garzanti, 1962. * ''Ali dagli occhi azzurri''. Milan: Garzanti, 1965. ** Selection of five stories published in English by John Shepley as ''Roman Nights and Other Stories''. London: Quartet Books, 1994. * ''Teorema''. Milan: Garzanti, 1968. ** Translated into English by Stuart Hood. London: Quartet Books, 1992. * ''La Divina Mimesis.'' Turin: Einaudi, 1975. ** New edition, Turin: Einaudi, 1979. * ''Amado mio'' preceduta da ''Atti impuri''. Edited by C. D'Angeli. Milan: Garzanti, 1982. ** New edition, with an introduction by Walter Siti, 1993. *''Petrolio''. Edited by M. Careri and Graziella Chiarcossi. Turin: Einaudi, 1992. ** Translated into English by Ann Goldstein. New York: Alfred A Knopf, 1997. * ''Un paese di temporali e di primule''. Edited by Nico Naldini. Parma; Guanda, 1993. * ''Romans'', seguito da ''Un articolo per il "Progresso" e Operetta marina''. Edited by Nico Naldini. Parma: Guanda, 1994. * ''Storie della citta di Dio: Racconti e cronache romane (1950-1966)''. Edited by Walter Siti. Turin: Einaudi, 1995. ** Translated into English by Marina Harss as ''Stories from the City of God: Sketches and Chronicles of Rome 1950-1966.'' New York: Other Press, 2003. * ''Romanzi e racconti''. Edited by Walter Siti and Silvia De Laude. Milan: Mondadori Meridiani, 2 vols., 1998.

===Plays===

* ''Italie Magique'', in ''Potentissima Signora''. Songs and dialogues written for Laura Betti. Milan: Longanesi, 1965. * ''Calderón''. Milan: Garzanti, 1973. * ''I Turcs tal Friul (I Turchi in Friuli)''. Edited by Luigi Ciceri. Udine: Forum Julii, 1976. ** (New edition edited by A. Noferi Ciceri, Udine: Società filologica friuliana, 1995.) * ''Affabulazione-Pilade''. Presented by Attilio Bertolucci. Milan: Garzanti, 1977. * ''Porcile, Orgia, Bestia da stile''. With a note by Arturo Roncaglia. Milan: Garzanti, 1979. * ''Teatro (Calderón, Affabulazione, Pilade, Porcile, Orgia, Bestia da stile)''. Preface by G. Davico Bonino. Milan: Garzanti, 1988. * ''Affabulazione''. With a note by G. Davico Bonino. Turin: Einaudi, 1992. ** Translated into English as ''Manifesto for a New Theatre'' Followed by ''Infabulation'' by Thomas Simpson. Toronto: University of Toronto Press, 2008. * ''Teatro''. Edited by Walter Siti and Silvia De Laude. Milan: Mondadori, 2001.

===Published Screenplays===

* ''Accattone''. Edizioni FM: Rome, 1961. * ''La commare secca'', co-written with Bernardo Bertolucci and Sergio Citti. Milan: Zibetti, 1962. * ''Mamma Roma''. Milan: Rizzoli, 1962. * ''Il Vangelo secondo Matteo''. Milan: Garzanti, 1964. * ''Ali Dagli occhi azzurri'' (with ''La notte brava'', ''La ricotta'', ''Accattone'', ''Mamma Roma'') * ''Il padre selvaggio''. "Cinema e Film" issues 3 and 4, 1967. ** Republished in book form. Einaudi: Turin, 1975. * ''Edipo re''. Milan: Garzanti Editore, 1967. ** Translated into English by John Mathews as ''Oedipus Rex''. London: Lorrimer Publishing Ltd, 1971. * ''Teorema''. Milan: Garzanti, 1968. * ''Che cosa sono le nuvole?''. "Cinema e Film" issues 7 and 8, 1969. * ''Medea''. Milan: Garzanti, 1970. * ''Ostia'', co-written with Sergio Citti. Milan: Garzanti, 1971. * ''Trilogia della vita (Decameron, I racconti di Canterbury, Il fiore delle mille e una notte)''. Bologna: Cappelli, 1971. * ''San Paolo''. Turin: Einaudi, 1977. ** Translated into English as ''St. Paul: A Screenplay'' by Elizabeth A. Castelli. Preface by Alain Badiou. Introduction by Ward Blanton and Elizabeth A. Castelli. Edited by Elizabeth A. Castelli. London: Verso, 2025.

===Essays===

* ''Passione e ideologia (1948–1958)''. Milan: Garzanti, 1960. ** New edition with an introduction by Cesare Segre, Turin: Einaudi, 1985. ** New edition with a preface by Alberto Asor Rosa, Milan: Garzanti, 1994. * ''Empirismo eretico''. Milan: Garzanti, 1972. ** Translated into English by Ben Lawton and Louise K. Barnett as ''Heretical Empiricism''. Edited by Louise K. Barnett. Bloomington: Indiana University Press, 1988. * ''L'Odore dell'India''. Milan: Longanesi & C. S. p. A., 1974. ** Translated into English by David Price as ''The Scent of India''. The Olive Press: London, 1984. * ''Scritti corsari''. Milan: Garzanti, 1975. ** (New edition with a preface by Alfonso Bernardinelli, 1990.) * ''Lettere luterane''. Turin: Einaudi, 1976. ** Translated into English by Stuart Hood as ''Lutheran Letters''. Carcanet Press: New York, 1987. * ''Descrizioni di descrizioni''. Edited by Graziella Chiarcossi. Turin: Einaudi, 1979. (New edition with a preface by G. Dossena, Milan: Garzanti, 1996.) * ''Il Portico della Morte''. Edited by Cesare Segre. Milan: Garzanti, 1988. * ''I film degli altri''. Edited by Tullio Kezich. Parma: Guanda, 1996. * ''Saggi sulla letteratura e sull’arte''. Edited by Walter Siti and Silvia De Laude, 2 vols. Milan: Mondadori, 1999. * ''Saggi sulla politica e sulla società''. Edited by Walter Siti and Silvia De Laude, 2 vols. Milan: Mondadori, 1999. * ''Pasolini: The Massacre Game''. Translated by Anna Battista. Edited by Stephen Barber. The Sun Vision Press, 2013. * ''Heretical Aesthetics: Pasolini on Painting''. Edited and translated with an introduction by Ara H. Merjian and Alessandro Giammei. Forward by T. J. Clark. London: Verso, 2023.

===Correspondence===

* ''Le belle bandiere: Dialoghi 1960–65''. Edited by GianCarlo Ferretti. Rome: Editori Riuniti, 1977. * ''Il Caos''. Edited by GianCarlo Ferretti. Rome: Editori Riuniti, 1979. * ''Lettere 1940–1954''. Edited by Nico Naldini. Turin: Einaudi, 1986. ** Translated into English as ''The Letters of Pier Paolo Pasolini, vol. 1: 1940-1954'' by Stuart Hood. London: Quartet Books, 1992. * ''Lettere 1955–1975''. Edited by Nico Naldini. Turin: Einaudi, 1988. * ''I dialoghi''. Edited by G. Falaschi, with a preface by GianCarlo Ferretti. Rome: Editori Riuniti, 1992. * ''Pier Paolo Pasolini, Vita attraverso le lettere''. Edited by Nico Naldini. Turin: Einaudi, 1994.

===Interviews===

* Duflot, Jean. ''Entretiens avec Pier Paolo Pasolini (1969)''. Paris: Belfond, 1970. ** Second edition, expanded, ''P. P. Pasolini, les dernières paroles d’un impie (1969–1975)''. Edited by Jean Duflot. Paris: Belfond, 1981. * Gulinucci, M., ed. ''Interviste corsare sulla politica e sulla vita 1955–1975''. Rome: Liberal Atlantide Editorial, 1995. * Magrelli, E., ed. ''Con Pier Paolo Pasolini. (“Quaderni di film critica.”)'' Rome: Bulzoni, 1977. * Stack, Oswald. ''Pasolini on Pasolini (1968)''. London: Thames and Hudson, 1969.

== Notes == {{Notelist}}

== References == {{Reflist}}

== Further reading ==  * Aichele, George. "Translation as De-canonization: Matthew's Gospel According to Pasolini – filmmaker Pier Paolo Pasolini – Critical Essay". ''Cross Currents'' (2002). * Chiesa, Lorenzo. ''Pasolini and the Ugliness of Bodies''. In: Polezzi, Loredana and Ross, Charlotte, eds. In Corpore: Bodies in Post-Unification Italy. Farleigh Dickinson University Press, Madison, pp. 208–227. {{ISBN| 978-0-8386-4164-4}}. * Distefano, John. "Picturing Pasolini", ''Art Journal'' (1997). * {{cite book |last1=Eberstadt |first1=Fernanda |author1-link=Fernanda Eberstadt |title=Bite Your Friends: Stories of the Body Militant |date=2024 |publisher=Europa Editions |pages=195–242 |isbn=979-8-88966-006-4}} * Eloit, Audrene. "Oedipus Rex by Pier Paolo Pasolini The Palimpsest: Rewriting and the Creation of Pasolini's Cinematic Language". ''Literature Film Quarterly'' (2004). * Fabbro, Elena (ed.). ''Il mito greco nell'opera di Pasolini''. Atti del Convegno Udine-Casarsa della Delizia, 24–26 ottobre 2002. Udine: Forum (2004). {{ISBN|88-8420-230-2}}. * Forni, Kathleen. "A "Cinema of Poetry": What Pasolini Did to Chancer's Canterbury Tales". ''Literature Film Quarterly'' (2002). * Frisch, Anette. "Francesco Vezzolini: Pasolini Reloaded". Interview, Rutgers University Alexander Library, New Brunswick, NJ. * Ginzburg, Carlo, Safran, Yehuda, Sherer Daniel. "An Interview with Carlo Ginzburg, by Yehuda Safran and Daniel Sherer". Potlatch 5 (2022), special issue on Carlo Ginzburg. Discussion of Ginzburg's meeting with Pasolini and Elsa Morante and Pasolini's interest in Ginzburg's work as a historian of Friuli. * Green, Martin. "The Dialectic Adaptation". * Greene, Naomi. ''Pier Paolo Pasolini: Cinema as Heresy''. Princeton, NJ: Princeton UP, 1990. * Hamza, Agon. ''Althusser and Pasolini - Philosophy, Marxism and Film''. Palgrave, NY (2016). {{ISBN|978-1-137-56651-5}}. * Meyer-Krahmer, Benjamin. "Transmediality and Pastiche as Techniques in Pasolini's Art Production", in: P.P.P. – Pier Paolo Pasolini and death, eds. Bernhart Schwenk, Michael Semff, Ostfildern 2005, pp. 109–118. * Passannanti, Erminia, ''Il corpo & il potere. Salò o le 120 giornate di Sodoma di Pier Paolo Pasolini'', Prima edizione, Troubador, Leicester, 2004; Seconda Edizione, Joker, Savona 2008. * Passannanti, Erminia, ''Il Cristo del'Eresia. Pier Paolo Pasolini. Cinema e Censura'', Joker, Savona 2009. * Passannanti, Erminia, ''La ricotta. Il Sacro trasgredito. Il cinema di Pier Paolo Pasolini e la censura religiosa'', 2009 was also published in "Italy on Screen" (Peter Lang Ed., 2011). The book contains excerpts from the 1962 court trial. * Pugh, Tison. "Chaucerian Fabliaux, Cinematic Fabliau: Pier Paolo Pasolini's I racconti di Canterbury", ''Literature Film Quarterly'' (2004). * Restivo, Angelo. ''The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film''. London: Duke UP, 2002. * Rohdie, Sam. ''The Passion of Pier Paolo Pasolini''. Bloomington, Indiana: Indiana UP, 1995. * Rumble, Patrick A. ''Allegories of contamination: Pier Paolo Pasolini's Trilogy of life''. Toronto: University of Toronto Press, 1996. * Schwartz, Barth D. ''Pasolini Requiem''. 1st ed. New York: Pantheon Books, 1992. * Siciliano, Enzo. ''Pasolini: A Biography''. Trans. John Shepley. New York: Random House, 1982. * Thompson, N.S., ''Pier Paolo Pasolini: Poet and Prophet'', in Murray, Glen (ed.), ''Cencrastus'' No. 7, Winter 1981 - 82, pp. 30 – 32. * Tusa, Giovanbattista. "The Pasolinian Century", in: Hildebrandt, Toni and Tusa, Giovanbattista (eds.), ''PPPP. Pier Paolo Pasolini Philosopher''. Mimesis International, 2022, pp. 317–323. * Viano, Maurizio. ''A Certain Realism: Making Use of Pasolini's Film Theory and Practice''. Berkeley: University of California Press, 1993. * Willimon, William H. "Faithful to the script", ''Christian Century'' (2004).

== External links == {{Commons category}} {{Wikiquote}} * {{IMDb name|0001596}} * [http://bombmagazine.org/article/2000039/pier-paolo-pasolini-s-em-selected-poetry-em-edited-and-translated-by-stephen-sartarelli Interview with Jonas Mekas in Bomb Magazine] {{Webarchive|url=https://web.archive.org/web/20150618011911/http://bombmagazine.org/article/2000039/pier-paolo-pasolini-s-em-selected-poetry-em-edited-and-translated-by-stephen-sartarelli |date=18 June 2015 }} * [http://www.filmgalerie451.de/dvd/regisseure/pasolini/ Pasolini on Filmgalerie451] {{Webarchive|url=https://web.archive.org/web/20130416010528/http://www.filmgalerie451.de/dvd/regisseure/pasolini/ |date=16 April 2013 }} * [http://www.pasolini.net Piers Paolo Pasolini], Italian Website with Extensive Commentary * [http://www.sensesofcinema.com/2002/great-directors/pasolini/ "Pier Paolo Pasolini"], Senses of Cinema * [https://news.bbc.co.uk/2/hi/entertainment/4529877.stm BBC News Report on the Reopening of the Murder Case] * Guy Flatley: [http://www.moviecrazed.com/outpast/pasolini.html "The Atheist Who Was Obsessed with God"] {{Webarchive|url=https://web.archive.org/web/20160303172047/http://www.moviecrazed.com/outpast/pasolini.html |date=3 March 2016 }}, MovieCrazed * [https://web.archive.org/web/20060114110046/http://www.zmag.org/content/showarticle.cfm?SectionID=43&ItemID=8433 Doug Ireland, "Restoring Pasolini"], ZMag * [https://web.archive.org/web/20070808161923/http://www.bfi.org.uk/features/salo/foreword.html Pasolini's Own Notes on ''Salò'' from 1974] * [https://www.poesiedautore.it/pier-paolo-pasolini Pier Paolo Pasolini Poems] – Original Italian Text. * {{YouTube|A3ACSmZTejQ|Video (in Italian): Pasolini on the Destructive Impact of Television}} (Interrupted and Half-Censored by Enzo Biagi) * [http://www.pierpaolopasolini.it/ Italian Website dedicated to Pasolini] * [http://mubi.com/notebook/posts/the-lost-pasolini-interview Pasolini's Second to Last Interview, Long Believed to Have Been Lost] * [https://www.nytimes.com/2012/12/27/movies/pasolinis-legacy-a-sprawl-of-brutality.html?pagewanted=all&_r=0 "Pasolini's Legacy: A Sprawl of Brutality"], Dennis Lim, ''The New York Times'', 26 December 2012

{{Pier Paolo Pasolini}} {{Prix du scénario}} {{Nastro d'Argento Best Director}} {{Viareggio Prize}} {{Authority control}}

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