Didi-Huberman, Georges2022-06-132022-06-132009https://meiner.de/artikel/1000107493https://mediarep.org/handle/doc/19540Starting from the hypothesis that we are faced with pictures as dynamic entities and as actions, this article investigates scenes of (political) confliict and of fight in Pasolini's films. Priority is given to the rhythmic quality of Pasolini's vital realism, which also characterises his application of montage as a procedure of contamination. Abigioia – that abysmal joy, which is based on the fear of and the longing for the lost life – here determines the poetics of anachronistic and impure sacredness.deuBilderHandlungenKonflikteMontage300301791Pier Paolo Pasolini10.28937/100010749310.25969/mediarep/184161869-1366