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Poétique du sacré chrétien dans les filmographies de Pier Paolo Pasolini et Andreï Tarkovski

Abstract : Because there exist historically a common culture, Christianity, that the films of Pier Paolo Pasolini (1922-1975) can communicate with the films of Andreï Tarkovski (1932-1986). Their careers of filmmakers begin almost at the beginning of the years 1960, and in the same country, Italy. The first film carried out by Pier Paolo Pasolini, Accattone (Accattone, 1961), is shown for the first time at Mostra of Venice on August 31st, 1961, where the Childhood of Ivan (Ivanovo detstvo, 1962) of Tarkovski will receive the following year the first “gold Lion” of the History of the Soviet cinema. The religion does not occupy however the same place in the Italian social life, where Catholicism is religion of State until 1984, which under a Soviet regime based on the “Separation of the Church with the State and the School” since 1918. Their poetic respectively engage a critical function with regard to a power having authority on Sacred Christian. This criticism would be exerted for Tarkovski against the atheistic and materialist policy of the Soviet regime, under the government of Krouchtchev (1953-1964) and Leonid Brenev (1964-1982). In the case of Pasolini, this criticism would be exerted against the Catholic Church and to its political alliance with the Christian-Democracy. In both cases, it would be a question of investing and of adapting the fundamental opposition between the Sacred and the Profane to redefine their border and their distribution in space and time
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Submitted on : Thursday, March 29, 2018 - 1:44:25 PM
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Loïc Millot. Poétique du sacré chrétien dans les filmographies de Pier Paolo Pasolini et Andreï Tarkovski. Musique, musicologie et arts de la scène. Université de Lorraine, 2016. Français. ⟨NNT : 2016LORR0204⟩. ⟨tel-01752388⟩



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