The Canterbury Tales (DVD)

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In Rome, Pasolini found another Paradise among the sub-proletariat of the Roman slums. They became, as Friuli and Friulian had been, a social, poetic and linguistic model, but this time, it consisted of a different ‘other’, not the bucolic, but the reviled and the marginalised of the Roman slums: thieves, whores, pimps, slobs, cheats, criminals, those for whom work was, if not a curse to be avoided, a sign of belonging to a society they had rejected or had rejected them, a rejection romanticised by Pasolini as a purity of the refusal to conform, even thereby a sacredness. Pasolini and the Form of the City (1974), a documentary by Pasolini and Paolo Brunatto about the Italian cities Orte and Sabaudia

In Chaplin’s The Great Dictator (1940), Chaplin is Henkel and Henkel is Hitler and both are Chaplin, the Jewish barber, and the Jewish barber is all the Jews. These are relations of resemblance, of similitude. One of the great scenes of the film is when, at the end, the three characters threaten to meet and unravel the masquerade and deceit on which the film depends: Henkel, a citation of Hitler, the Jewish barber (who suffered amnesia), and Chaplin himself who is never not Chaplin, anymore than Charlie is never not Chaplin, or Pasolini never not Pasolini no matter what role he plays, or Orson Welles in La ricotta or in Welles’ own films never not Welles, made explicit in Welles’ F for Fake (1974) and Mr Arkadin (1955). The impersonations are self-evident, like circus masquerade and are satires and parodies not only internally, but of reality itself, which is permanently called into question, burlesqued. Newlyn Town - Alison farts in Absolon's face, and is also used in the brothel scene in The Pardoner's Tale. The linguistic shifts between languages made one language the likeness of another without each losing their otherness. Thus, modern colloquial English speech in the Pasolini film functions as a comparative to 14 th century Middle English, at once different and an equivalence. The same is true with the Italian in its relation to the English. In either case the linguistic analogies refer to an earlier time, to Renaissance England or to Italy before, according to Pasolini, language in Italy had been homogenised first under Fascism and then with post-war consumerism into a bureaucratic unified Italian from the late 1920s. Milano, whose extraordinary talents for networking in the famously tight-clad enclave of Hollywood have placed her at the center of the industry’s top red carpets and events since 1984, heads daily operations of a uniquely accessible, yet carefully targeted publication. Pasolini learned his Roman with the help of Federico Fellini and which Pasolini adopted as he had learned and adopted Friulian. Roman dialect is present in Fellini’s 1957 film Le notti di Cabiria on which Pasolini was involved.Salò is a small town in the province of Brescia in the northeast of Italy. From 1943 to 1945, it was the capital of the fascist Italian Social Republic under Benito Mussolini, created by the Nazi’s after Mussolini’s government fell to the Allies in 1943 and Mussolini was replaced by Marshal Badoglio under the Allied armies. Italy overnight went from being an ally of Germany to its enemy. Guns were turned around, friends became foes and foes friends. Valerie works closely with the Human Rights Campaign as a distinguished Fed Club Council Member. She also works with GLSEN, GLAAD, Outfest, NCLR, LAMBDA Legal, and DAP Health, in addition to donating both time and finances to high-profile nonprofits. She has been a member of the Los Angeles Press Club for a couple of years and looks forward to the possibility of contributing to the future success of its endeavors. Fellini’s La Strada is a perfect example of such clowning, where the clash between Zampano and Il Matto ends in a terrible death, a prank gone wrong (the same is true in Il Bidone [195x]). The entire film, like other Fellini films, derives from the circus. The ‘other’, Friuli and Friulian, was for Pasolini an idealised peasant society, mythical even, pure, innocent, as yet uncorrupted by modernity, belonging to the past but doomed by the modern to disappear. To adopt its language, its accents, was to identify with an ideal and its threatened loss. The Tales are as diverse as the characters who recount them. The two crucial voices are that of the one who frames (Chaucer) and those who are framed (the pilgrims), a single voice governing multiple ones. Some voices are in verse, others in prose. The collection of tales is a collection then of differences held together in a unity of time, place and intention by the fiction of a pilgrimage.

The Canterbury Tales ( Italian: I racconti di Canterbury) is a 1972 Italian film directed by Pier Paolo Pasolini based on the medieval narrative poem by Geoffrey Chaucer. The second film in Pasolini's "Trilogy of Life", preceded by The Decameron and followed by Arabian Nights, it won the Golden Bear at the 22nd Berlin International Film Festival. [1] A vendor witnesses a summoner who is spying on two different men committing sodomy. He catches both and turns them over to the authorities. While one man manages to escape persecution by bribing the authorities, the other is sentenced to burn on a "griddle". During his execution, the vendor walks through the crowd selling griddle cakes. Afterwards, the vendor meets the summoner, who is unaware he was being followed. The two vow to be friends but the vendor reveals himself to be the devil. The summoner does not care about this and says they will make great partners as they are both out for profit. The summoner then explains that he must collect money from a miserly old woman. When they meet the old woman, the summoner levies false charges against her and tells her that she must appear before the ecclesiastical court but says that if she pays him a bribe in the amount she owes, she will be excused. The old woman accuses him of lying, and curses him to be taken away by the devil if he does not repent. She says the devil can take him and the pitcher she owns which is her most valuable possession. The devil asks her if she truly means what she says and she assents. The summoner refuses to repent and the devil proceeds to take him (and the pitcher) to hell as they are now his by divine right. Bradford-on-Avon, Wiltshire - Chaucer sets up his tale of Sir Thopas and the Host and other travellers ask him to stop (deleted scene). [12]Traditional montage is linear and consequential, linking differences to create a logic of continuity as its instrument for erasing the evidence of representing, the form of things, what in France is referred to as mise en scène, for the sake of the ‘reality’ of the representation. D.W. Griffith was the master of such editing, the father of the narrative cinema and of its industry, Hollywood. This film also uses Pasolini regulars such as Ninetto Davoli and Franco Citti. Franco Citti plays the Devil in this film which follows a theme in The Trilogy of Life of Citti playing demonic and immoral characters (he plays Ser Ciappelletto in The Decameron and is an ifrit in Arabian Nights). The actors in Pier Paolo Pasolini’s The Canterbury Tales ( I racconti di Canterbury [1970]) are English and Italian. The film has an English and an Italian version, both dubbed. The speech of the characters in the two versions is ‘popular’, the speech of ordinary people. The Middle English of Chaucer is notable for its use of dialectal forms. There is a profusion of characters and tales, languages, linguistic differences that accumulate and spiral. These differences encourage comparisons: between works, languages, societies, past and present, customs, class, Italy and Medieval England, the body and the spirit. Wells Cathedral, Wells, Somerset - Absolon attends a dance here, and the Wife of Bath marries the young student in the Lady Chapel.