The Oipus complex, as a correlate of the law of the Father, writes Fabrice Bourlez in Pulsions Pasoliniennes, has long been a machine for constructing the subject according to the three categories of Freudian diagnoses, neurosis, psychosis and perversion, thus determining three types of visions, three types of attachment to language and to the world representation innovates . So for Pasolini, how can we find our way around it? What are the implications for his vision of the world, for his cinematographic work? Without doubt the autobiographical dimension of the film allows us to understand the version of the father who organizes the Pasolinian world.
Inde the first representation innovates movement of this film
a silent prologue, presents some episodes from Pier Paolo Pasolini’s early childhood in the 1920s: the father, a young officer jealous of his wife’s love for their son, one evening squeezes the child’s feet until he cries [5] .
Then in a timeless Morocco, the accurate clean numbers list from frist database legend of Oipus is then recount, “the enormous dream of the myth” until the last part, where Oipus, who has goug out his eyes, accompani by the messenger of the kingdom, crosses Bologna in 1967, before returning to the initial set up effective email campaigns with automation software meadow of the prologue: “Life stops where it begins”.
If the character of the mother has a large place in Pasolini’s journey, the fight against the father seems to trace the destiny of his Oipus. Moreover, the hatr of the father is inscrib in the body.
It insists in his novelistic and cinematic
writing. In Pasolini, the Oipal blindness passes first through that of his camera and, in his literature, of the story. It is through this ambivalent attention to the father that he traces a name for himself as a poet.
expression above all, even at the expense of the laws of perspective. It remains a reference. This is quite explicit in the work of Velickovic, an artist deeply mark by the war in Yugoslavia.
“What would be, in the 21st vietnamese offer century, the figure of what would be what we have call in tradition the man of sorrows ?” Another aspect, develop by Bernard Lecoeur, psychoanalyst, member of the ECF, is that of “the way in which the painter puts his body into play in painting”, in “the movement of the painter towards the canvas”.
