Michael Syrimis
Biographic Data
| ID | 693798 |
|---|---|
| NAME | Michael Syrimis |
| GIVEN NAMES | Michael |
| FAMILY NAME | Syrimis |
| SIGNATURE | SYRIMIS M |
| AFFILIATIONS | Tulane University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Pasolini's Erotic Gaze from Medea to Salò
Pier Paolo Pasolini's cinema exhibits a number of stylistic idiosyncrasies that in some fashion or other we may describe as the “erotic gaze.” We recall, for example, his signature frontal shot that lingers on the awkward smile of an innocent looking youth, or his slow pans over rough natural landscapes. In instances such as these, which exemplify what Pasolini calls his sacralità tecnica, or technical sacrality (Per il cinema 2768), the camera s…
The light that blinds
This article analyzes Gabriele D’Annunzio’s 1898 play La Gioconda as a form of modern tragedy with respect to Friedrich Nietzsche’s duality of the Apollinian and Dionysian, and with particular emphasis on the motif of light as it appears both in the author’s stage directions and in the dialogues. The story of the play revolves around the recurrent Dannunzian theme of the love triangle. A young sculptor of a Nietzschean sensibility struggles with …
Self-parody in Pasolini’s La ricotta and Appunti per un’Orestiade africana
This article explores the practice of self-parody in Pier Paolo Pasolini’s films La ricotta (1963) and Appunti per un’Orestiade africana (1970). A rarely addressed aspect of Pasolini’s work, self-parody challenges the reverential view of Pasolini as one of Italy’s most influential artists. It refers not merely to self-mockery but to the filmmaker’s wish to perplex the viewer by proposing competing ideological standpoints. The viewer is encouraged…
The Great Black Spider on Its Knock-Kneed Tripod
The Great Black Spider on Its Knock-Kneed Tripod traces the encounter of Italy’s writers with cinema, and in doing so offers vibrant new perspectives on the country’s early twentieth-century culture
Pasolini's Erotic Gaze from Medea to Salò
Pier Paolo Pasolini's cinema exhibits a number of stylistic idiosyncrasies that in some fashion or other we may describe as the “erotic gaze.” We recall, for example, his signature frontal shot that lingers on the awkward smile of an innocent looking youth, or his slow pans over rough natural landscapes. In instances such as these, which exemplify what Pasolini calls his sacralità tecnica, or technical sacrality (Per il cinema 2768), the camera s…
The Great Black Spider on Its Knock-Kneed Tripod
The Great Black Spider on Its Knock-Kneed Tripod traces the encounter of Italy’s writers with cinema, and in doing so offers vibrant new perspectives on the country’s early twentieth-century culture
Self-parody in Pasolini’s La ricotta and Appunti per un’Orestiade africana
This article explores the practice of self-parody in Pier Paolo Pasolini’s films La ricotta (1963) and Appunti per un’Orestiade africana (1970). A rarely addressed aspect of Pasolini’s work, self-parody challenges the reverential view of Pasolini as one of Italy’s most influential artists. It refers not merely to self-mockery but to the filmmaker’s wish to perplex the viewer by proposing competing ideological standpoints. The viewer is encouraged…
The light that blinds
This article analyzes Gabriele D’Annunzio’s 1898 play La Gioconda as a form of modern tragedy with respect to Friedrich Nietzsche’s duality of the Apollinian and Dionysian, and with particular emphasis on the motif of light as it appears both in the author’s stage directions and in the dialogues. The story of the play revolves around the recurrent Dannunzian theme of the love triangle. A young sculptor of a Nietzschean sensibility struggles with …
Pasolini's Erotic Gaze from Medea to Salò
Pier Paolo Pasolini's cinema exhibits a number of stylistic idiosyncrasies that in some fashion or other we may describe as the “erotic gaze.” We recall, for example, his signature frontal shot that lingers on the awkward smile of an innocent looking youth, or his slow pans over rough natural landscapes. In instances such as these, which exemplify what Pasolini calls his sacralità tecnica, or technical sacrality (Per il cinema 2768), the camera s…
Art (4 works) · Italian Fascism and Post-war Society (4 works) · Italian Literature and Culture (3 works) · Aesthetics (2 works) · Art history (2 works) · Law (2 works) · Law (2 works) · Literature (2 works) · Movie theater (2 works) · Politics (2 works)