A copy of this work was available on the public web and has been preserved in the Wayback Machine. The capture dates from 2021; you can also visit the original URL.
The file type is
The short film La ricotta (Pier Paolo Pasolini, 1963) tells the story of Stracci, an extra working on a film of the life of Christ, which is presented in part via tableaux vivants of Mannerist paintings. Pasolini's film is replete with formal, stylistic and narrative binaries. In this article, I examine a particularly emphatic binary in the film in the form of the abstract, ethereal corporeality of the Mannerist paintings versus the raw and bawdy corporeality of Stracci. I show that through thedoi:10.33178/alpha.7.03 fatcat:xctg3it5mnculgszu6i5t3qz74