Sopralluoghi in Palestina per Il Vangelo secondo Matteo: The film essay of confession in Pasolini

Resumo

Pier Paolo Pasolini, during his film production in the 60s and 70s, directed a series of documentaries with a clear essayistic character, as he tried to answer some philosophical questions from the first person, while seeking an audiovisual relevance. The Italian director immerses himself in a filmic writing in progress, as these works were references for future films, appunti. Specifically, Supralluoghi in Palestina per Il Vangelo secondo Matteo (1964), becomes a research that would crystalise in a fiction film, Il vangelo secondo Matteo (1964), a feature film that he would make the same year.
For this research we have taken as our starting point genetic criticism, Foucault’s “Technologies of the self” and María Zambrano’s idea of confession. In this way, we will address the characteristics that define this work in itself and how, at the same time, it is reflected in a material of analysis for the creative processes of filmmaking. Furthermore, we will unfold the coincidences with the filmic work of Debord, Godard and Marker, which will allow us to talk about the filmic essay of confession.