Thèse de doctorat en Etudes cinématographiques et audio-visuelles
Sous la direction de Paul Carmignani et de Eva Banchelli.
Thèses en préparation à Perpignan en cotutelle avec l'Università degli studi di Bergamo (Italie) , dans le cadre de École Doctorale INTER-MED (Perpignan) depuis le 24-11-2011 .
The starting point of my dissertation can be seen in the hypothesis that the literary component in the cinematic works of both Pier Paolo Pasolini and Rainer Werner Fassbinder represents an essential ingredient, without which those works would lack substance and meaning. The thesis investigates the question as to the indispensability of literature for Pasolini’s and Fassbinder’s films by means of a comparative study of the literary-cinematic relationships to be found in their work: What do their respective approaches towards the cinematic treatment of literary works have in common, how do they differ? Further, to what extent can the contrastive interplay of literature with the cinematic me-dium which permeates the entire gamut of their work even be conceived as an innovative method of adaptation? The thesis proposes an alternative approach to this problem: Instead of addressing their work from without, by means of theoretical techniques of ‘literary adaptation analysis’, the artists’ own theoretical writings – essays, reflections and working memoranda – are to be subjected to initial analysis with respect to an implicit theory of the relationship between literature and film. The assumed common denominator of Pasolini's and Fassbinder's theories is provided by the radically subjective internalization of literary material and its corporeal-sensual physical manifestation within the cinematic medium. The analytical treatment of their theories forms the basis of the investigation of interrelationships between literature and film in artistic endeavour, which is to be undertaken on three different levels: Level 1: containing only the artist’s own literary works (reciprocal influences between the artist’s own writing and film work; ‘translation’ of his own texts into the audiovisual medium) Level 2: mixed forms (Adoption of ‘foreign’ literary elements to a minor degree, as ‘patches’ grafted into the film) Level 3: literary adaptations (transformation of ‘foreign’ texts). The purpose of this research project is to reveal distinctive common techniques in the work of both artists which inter-twine the often stated parallels regarding their biographies and the socio-critical dimension of their art.
The relationship between literature and film in the work of Pier Paolo Pasolini and Rainer Werner Fassbinder
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