FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W58941217> ?p ?o ?g. }

• W58941217 startingPage "185" @default.
• W58941217 abstract "After two decades of neglect, Marco Bellocchio's Devil in the Flesh [Il Diavolo in corpo], once again attracting the attention of the scholars of Italian cinema interested in gli anni di piombo. In part, this due to a renewed interest both in the cultural representation of terrorism and in Bellocchio's more than forty years of cinematic output. Both of these trends are further accentuated by the release of Bellocchio's Good Morning, Night (Buongiorno, Notte), a film that tells the story of the kidnapping and murder of Aldo Moro by the Red Brigades (brigate rosse). Unlike Good Morning, Night which based on the memoir of former Red Brigades member Anna Laura Braghetti, the textual origins of Devil in the Flesh are far more obscure. This is, of course, an odd statement as it seems obvious that Bellocchio's film an adaptation of Raymond Radiguet's 1923 novel. Devil in the Flesh, however, neither a retelling nor a restaging of the novel. It would be an error to read the film as an adaptation of the novel. (1) But such an error would itself be part of a greater practice of misreading at work in the film: a practice that witnessed in the use of textual references; a form of misreading that starts with the initial reference to Radiguet's novel in the title of the film and continues to the final scene of the film when Sophocles's Antigone enters into the diegetic structure of the film. In this final scene, Antigone enters as a possible subtext that potentially explains the political and dramatic references and forms within the film. Here, Sophocles's tragedy appears, not only as a potential subtext of the film, but also as an object of textual analysis at the end of the film. This object of interpretation not only the point in the film where the subtext manifest as a text, but it also the point where the act of misreading emerges as the central form of reading within the film. The very moment when Sophocles's tragedy appears, we believe that the true source of the film's textual origin has been revealed. And, yet, with the appearance of the text as an object of discussion and interpretation that instantly misread, we are faced with the possibility that the play--the transcendent, eternal source of tragedy--is nothing other than an impediment to interpretation. The entrance of the text within the film offers us two modes of interpretation borrowed from Gilles Deleuze and Pier Paolo Pasolini: that of the cliche (subtext) and that of the image. Here, the text serves as a catalyst that both offers us a point of reference--a subtext that itself a cliche, a sign within a system, the text of political resistance--and destroys the simplistic reading that the cliche, offering in its place a singular image that resists interpretation. The arrival of the play marks the moment when tragedy fails to fulfill its promise as tragedy and we are left with doubt and without the cathartic release that revelation should provide. This impasse manifested in the final shot of the film in which we see Giulia (Maruschka Detmers), the film's protagonist reacting to this act of misreading. In this final image, we see what Pasolini would call the extremely crude, almost animal-like (168) quality of the cinematic image, an image that sovereign and resists the power of a language of prose and which, at the very end of the film, reveals the hypnotic monstrum that a film always is (172). It in this demonstration of the image and its power that Bellocchio's film not only fulfills the promise that Pasolini saw in cinema but offers a clear example of Gilles Deleuze's reading of cinema's desire to break free from the cliche form. Set in the early years of the 1980s, Devil in the Flesh tells the story of Giulia, the daughter of a colonel slain by terrorists. As the narrative begins, we discover that Giulia engaged to Giacomo Pulcini (Riccardo de Torrebruna), a member of the Red Brigades who, with the encouragement of his pious mother and influential family friends, has become one of the pentiti--those who have renounced their political beliefs and fervour through the mediating influence of the Catholic Church, and have agreed (as a sign of their break with the violent past) to denounce others. …" @default.
• W58941217 created "2016-06-24" @default.
• W58941217 creator A5029955914 @default.
• W58941217 date "2008-09-01" @default.
• W58941217 modified "2023-09-26" @default.
• W58941217 title "Castrating Antigone: The Cliche of Terror in Marco Bellocchio's Devil in the Flesh" @default.
• W58941217 hasPublicationYear "2008" @default.
• W58941217 type Work @default.
• W58941217 sameAs 58941217 @default.
• W58941217 citedByCount "0" @default.
• W58941217 crossrefType "journal-article" @default.
• W58941217 hasAuthorship W58941217A5029955914 @default.
• W58941217 hasConcept C124952713 @default.
• W58941217 hasConcept C142362112 @default.
• W58941217 hasConcept C17744445 @default.
• W58941217 hasConcept C177897776 @default.
• W58941217 hasConcept C185592680 @default.
• W58941217 hasConcept C199539241 @default.
• W58941217 hasConcept C2776327621 @default.
• W58941217 hasConcept C2776359362 @default.
• W58941217 hasConcept C2778184401 @default.
• W58941217 hasConcept C31903555 @default.
• W58941217 hasConcept C519580073 @default.
• W58941217 hasConcept C52119013 @default.
• W58941217 hasConcept C94625758 @default.
• W58941217 hasConcept C95457728 @default.
• W58941217 hasConceptScore W58941217C124952713 @default.
• W58941217 hasConceptScore W58941217C142362112 @default.
• W58941217 hasConceptScore W58941217C17744445 @default.
• W58941217 hasConceptScore W58941217C177897776 @default.
• W58941217 hasConceptScore W58941217C185592680 @default.
• W58941217 hasConceptScore W58941217C199539241 @default.
• W58941217 hasConceptScore W58941217C2776327621 @default.
• W58941217 hasConceptScore W58941217C2776359362 @default.
• W58941217 hasConceptScore W58941217C2778184401 @default.
• W58941217 hasConceptScore W58941217C31903555 @default.
• W58941217 hasConceptScore W58941217C519580073 @default.
• W58941217 hasConceptScore W58941217C52119013 @default.
• W58941217 hasConceptScore W58941217C94625758 @default.
• W58941217 hasConceptScore W58941217C95457728 @default.
• W58941217 hasIssue "3" @default.
• W58941217 hasLocation W589412171 @default.
• W58941217 hasOpenAccess W58941217 @default.
• W58941217 hasPrimaryLocation W589412171 @default.
• W58941217 hasRelatedWork W116071458 @default.
• W58941217 hasRelatedWork W2029217883 @default.
• W58941217 hasRelatedWork W2118087213 @default.
• W58941217 hasRelatedWork W213583144 @default.
• W58941217 hasRelatedWork W222481352 @default.
• W58941217 hasRelatedWork W2315095662 @default.
• W58941217 hasRelatedWork W231617336 @default.
• W58941217 hasRelatedWork W2321274913 @default.
• W58941217 hasRelatedWork W234786330 @default.
• W58941217 hasRelatedWork W2534533601 @default.
• W58941217 hasRelatedWork W2562844172 @default.
• W58941217 hasRelatedWork W2770124709 @default.
• W58941217 hasRelatedWork W295306544 @default.
• W58941217 hasRelatedWork W2991729652 @default.
• W58941217 hasRelatedWork W1147910858 @default.
• W58941217 hasRelatedWork W12913247 @default.
• W58941217 hasRelatedWork W232556635 @default.
• W58941217 hasRelatedWork W2510774395 @default.
• W58941217 hasRelatedWork W290352113 @default.
• W58941217 hasRelatedWork W305164670 @default.
• W58941217 hasVolume "41" @default.
• W58941217 isParatext "false" @default.
• W58941217 isRetracted "false" @default.
• W58941217 magId "58941217" @default.
• W58941217 workType "article" @default.