What is it about?
This article examines the dialogue between Pier Paolo Pasolini's representation of the 'Holy Land' in Sopralluoghi in Palestina (Location Hunting in Palestine) (1965) and Ayreen Anastas' and Basma Alsharif's responses from Palestine, Pasolini Pa* Palestine (2005), and Ouroboros (2017). The article examines Pasolini's blind spots, but also the new insights gained from a contemporary repeating and relocating his journey.
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Why is it important?
For readers interested in Pasolini's postcolonial work (his 'Notes' films), the article resituates this work in the context of contemporary Palestinian cinema. In the article's counter reading of Pasolini, new insight is made into the parallels between the class politics of Italy's Southern Question and the class politics of contemporary Palestine/Israel.
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This page is a summary of: From Bethlehem to Basilicata: Framing Pasolini from Palestine, Journal of Italian Cinema and Media Studies, January 2022, Intellect,
DOI: 10.1386/jicms_00102_1.
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