791 Öffentliche Darbietungen, Film, Rundfunk
Refine
Year of publication
Document Type
- Part of a Book (30)
- Article (16)
- Book (11)
- Part of Periodical (7)
- Master's Thesis (2)
- Report (2)
- magisterthesis (1)
- Review (1)
- Working Paper (1)
Language
- English (71) (remove)
Has Fulltext
- yes (71)
Is part of the Bibliography
- no (71) (remove)
Keywords
- Film (18)
- Pasolini, Pier Paolo (8)
- Bibliographie (4)
- Motion pictures (4)
- Zeit (4)
- Adaption <Literatur> (3)
- Dante Alighieri (3)
- Drehbuch (3)
- Film adaptions (3)
- Filmmusik (3)
- Inferno (3)
- Productive reception (3)
- Rezeption (3)
- Callas, Maria (2)
- Cinematography (2)
- Classical antiquity (2)
- Europa (2)
- Fiction (2)
- Form (2)
- Ganzheit (2)
- Greek myths (2)
- Griechenland (Altertum) (2)
- Il vangelo secondo Matteo (2)
- Medea (Film, 1969) (2)
- Medieval (2)
- Narrative (2)
- Parodie (2)
- Parody (2)
- Paulus, Apostel, Heiliger (2)
- Queer theory (2)
- Queer-Theorie (2)
- Raum (2)
- Serial (2)
- Serienfilm (2)
- Structure (2)
- Television (2)
- Time (2)
- Video (2)
- Wholeness (2)
- Acting (1)
- Aeschylus (1)
- Aesthetics (1)
- Affect (1)
- Affekt (1)
- Afrika (1)
- Agamben, Giorgio (1)
- Animationsfilm (1)
- Antiamerikanismus (1)
- Architektur (1)
- Arendt, Hannah (1)
- Asian American (1)
- Asylpolitik (1)
- Auerbach, Erich (1)
- BDSM (sexual behavior) (1)
- Badiou, Alain (1)
- Balkanbild (1)
- Bewusstsein <Motiv> (1)
- Bojack Horseman (1)
- Bosnienkrieg <Motiv> (1)
- Boudry, Pauline (1)
- Bourgeoisie (1)
- Brussig, Thomas (1)
- Bürgertum (1)
- Capital market (1)
- Christian (1)
- Classical tragedy (1)
- Closure (1)
- Concentration camps (1)
- Conclusion (1)
- Continuation (1)
- Contradiction (1)
- Conversion (1)
- Darstellung (1)
- Das Dionysische (1)
- Das Groteske (1)
- Das Unheimliche (1)
- Dauer (1)
- Deep time (1)
- Demoris, Emmanuelle (1)
- Demoris, Emmanuelle: Mafrouza (1)
- Deutsche Filmgesellschaft (1)
- Deutsche Literatur (1)
- Deutscher Film (1)
- Dialectic (1)
- Dialektik (1)
- Dionysos (1)
- Diskontinuität (1)
- Dissertation (1)
- Division (split) (1)
- Documentary (1)
- Documentary films (1)
- Dokumentarfilm (1)
- Double (1)
- Dramatic conflict (1)
- Drehbuchautor (1)
- Drittes Reich (1)
- Duration (1)
- Dziga (1)
- Déjà-vu (1)
- Eating disorders (1)
- Eclipses (1)
- Edward II (Film, 1991) (1)
- Erzähltechnik (1)
- Erzählzeit (1)
- Essstörung (1)
- Ethics (1)
- European asylum system (1)
- Experimental video (1)
- Feminism (1)
- Feminismus (1)
- Figures of speech (1)
- Film Festival (1)
- Film scripts (1)
- Filmfestspiel (1)
- Filmtechnik (1)
- Flüchtling (1)
- Foucault, Michel (1)
- Frankfurt school (1)
- Frau <Motiv> (1)
- Fremder <Motiv> (1)
- Gast <Motiv> (1)
- Gastfreundschaft <Motiv> (1)
- Gay culture (1)
- Geschichte 1960- (1)
- Geschichtsschreibung (1)
- Gesellschaftskritik (1)
- Grbavica (1)
- Grotesque (1)
- Guest (1)
- Handlung <Literatur> (1)
- Hans (1)
- Hausa (1)
- Hausa language (1)
- Hausa-Sprache (1)
- Heimat <Motiv> (1)
- Helden wie wir (1)
- Heretics, Christian (1)
- High-Speed photography (1)
- Historiography (1)
- Home (1)
- Homosexualität (1)
- Hospitality (1)
- Hughes, John (1)
- Hughes, John: The idea of home - autobiographical essays (1)
- Humor (1)
- Humour (1)
- In the land of blood and honey (1)
- Inception <Film> (1)
- Ipomedon (1)
- Israel (1)
- Italien (1)
- Italy - History (1)
- Iteration (1)
- Jacir, Annemarie (1)
- Jarman, Derek (1)
- Java (1)
- Jesus Christus (1)
- Jews (1)
- Jolie, Angelina (1)
- Judaism (1)
- Juden <Motiv> (1)
- Julien, Isaac (1)
- Julien, Isaac: The Attendant (1)
- Kant, Immanuel (1)
- Kejawen (1)
- Kollektives Gedächtnis (1)
- Konflikt (1)
- Konstrukt (1)
- Konversion <Religion> (1)
- Konzentrationslager <Motiv> (1)
- Kritik der praktischen Vernunft (1)
- Kultur (1)
- Kurzfilm (1)
- Körper (1)
- Körper <Motiv> (1)
- Lachman, Harry (1)
- Lachman, Harry: Dante's Inferno (1)
- Langsamkeit (1)
- Las Meninas (1)
- Le Nemesiache (1)
- Literaturwissenschaft (1)
- Living History (1)
- Lorenz, Renate (1)
- Mafrouza - Oh la nuit! (1)
- Marginal temporality (1)
- Media Temporality (1)
- Media archaeology (1)
- Memorialization (1)
- Meredith, Sean (1)
- Meredith, Sean: Inferno (1)
- Metamorphose (1)
- Metapher (1)
- Metz (1)
- Meyers (1)
- Micro-Processes (1)
- Milḥ hāḏa 'l-baḥr (1)
- Mimesis (1)
- Minimal variation (1)
- Moby-Dick (1)
- Moral (1)
- Motion picture (1)
- Motion picture authorship (1)
- Motion picture play (1)
- Multistable figures (1)
- Music (1)
- Musical (1)
- Mythos (1)
- Nancy (1)
- National socialism (1)
- Nationalsozialismus <Motiv> (1)
- Naturdarstellung (1)
- Nature images (1)
- Nietzsche, Friedrich (1)
- Nigeria (1)
- Nolan, Christopher (1)
- Omar Mukhtar (1)
- Orestia (1)
- Ost-West-Konflikt (1)
- Ostalgie (1)
- Pabst, Georg W. (1)
- Paracelsus (1)
- Paradox (1)
- Paradoxon (1)
- Pasolini, Pier Paolo: Appunti per un'Orestiade africana (1)
- Pasolini, Pier Paolo: San Paolo (1)
- Performance <Künste> (1)
- Petzold, Christian (1)
- Philosophie (1)
- Picasso, Pablo (1)
- Poesia in forma di rosa (1)
- Polish-German relations (1)
- Politics (1)
- Postalgie (1)
- Postcolonialism (1)
- Postkolonialismus (1)
- Propagandafilm (1)
- Psychisches Trauma (1)
- Punakawan (1)
- Puppet films (1)
- Racism (1)
- Rassismus (1)
- Re-enactment, historical (1)
- Reenaction (1)
- Reenactment (1)
- Refugees (1)
- Relapse (1)
- Repetition (1)
- Repetition compulsion (1)
- Reproduction (1)
- Resnais, Alain (1)
- Revuefilm (1)
- Romanze (1)
- Sado-Masochism (1)
- Sadomasochismus (1)
- Scenarios (1)
- Schauspielkunst (1)
- Screen writing (1)
- Selbsttäuschung <Motiv> (1)
- Semprún, Jorge (1)
- Serienmörder (1)
- Sexualisierte Gewalt (1)
- Sichtbarkeit (1)
- Sklaverei (1)
- Slavery (1)
- Slow cinema (1)
- Sonnenallee (1)
- Spaltung (1)
- Spannung (1)
- Strangers (1)
- Struktur (1)
- Suspense (1)
- Synchronization (1)
- Szenarium (1)
- Tension (1)
- Teorema (Film) (1)
- The Dionysian (1)
- The Simpsons (Fernsehsendung) (1)
- Theatre-Philosophy (1)
- Time in motion pictures (1)
- Topos (1)
- Totò (1)
- Tragedy (1)
- Tragödie (1)
- Uncanny (1)
- Velázquez, Diego Rodríguez de Silva y (1)
- Vertov (1)
- Viewing position (1)
- Visibility (1)
- Wace (1)
- Wayang kulit (1)
- Werner Herzog (1)
- Wert (1)
- Widerspruch (1)
- Wiederholung (1)
- Wiederholungszwang (1)
- Wirklichkeit (1)
- Yella (1)
- Zimmer (1)
- animal agency (1)
- book review (1)
- cinema (1)
- commemoration (1)
- cultural diplomacy (1)
- exhibition spaces (1)
- feminism (1)
- film (1)
- film curating (1)
- film festivals (1)
- film history (1)
- film studies (1)
- filmic representation of animals (1)
- films (1)
- heritage (1)
- interview (1)
- lion of the desert movie (1)
- locations (1)
- material ecocriticism (1)
- media (1)
- memory frames (1)
- memory networks (1)
- reception (1)
- serial killer (1)
- soft power (1)
- speech act (1)
- story line (1)
- video (1)
- Ästhetik (1)
- Žbanić, Jasmila (1)
Institute
Uganda's broadcast media landscape has witnessed tremendous growth in recent years. While the public broadcaster remains the dominant national player - in terms of reach - in both radio and television, commercial broadcasters have introduced a substantial level of diversity in the industry. Public broadcasting faces serious competition from the numerous private and independent broadcasters, especially in and around the capital Kampala and major urban centres. In fact, the private/commercial sector clearly dominates the industry in most respects, notably productivity and profitability. The public broadcaster, which enjoys wider geographical coverage, faces the challenge of trying to fulfil a broad mandate with little funding. This makes it difficult for UBC to compete with the more nimble operators in the commercial/private sector. Overall, there appears to be a healthy degree of pluralism and diversity in terms of ownership.
This report is the result of research that started in 2008 with the aim of collecting, collating and writing up information about regulation, ownership, access, performance as well as prospects for public broadcasting reform in Africa. The Zimbabwe report is part of an 11-country survey of African broadcast media, evaluating compliance with the agreements, conventions, charters and declarations regarding media that have been developed at regional and continental levels in Africa. The research was carried out by Dr Sarah Chiumbu who has worked in different capacities in media in Zimbabwe and currently teaches media studies at Wits University in Johannesburg, and edited by Jeanette Minnie and Hendrik Bussiek.
This report on the broadcast media in Nigeria finds that liberalisation efforts in the broadcasting sector have only been partially achieved. More than a decade after military rule, the nation still has not managed to enact media legislation that is in line with continental standards, particularly the Declaration on Freedom of Expression in Africa. The report, part of an 11-country survey of broadcast media in Africa, strongly recommends the transformation of the two state broadcasters into a genuine public broadcaster as an independent legal entity with editorial independence and strong safeguards against any interference from the federal government, state governments and other interests. The report was written by Mr. Akin Akingbulu Executive Director, Institute for Media and Society, IMS, Nigeria.
I first encountered the work of Miriam Hansen as a graduate student in the mid-1990s when her book Babel and Babylon was the talk of the (at that time still fairly modest) film studies town – even though it was sitting somewhat uneasily on the fence. In fact, it was this position beyond the canonical that made the book so attractive in the first place. It did not fit into the raging debate of that time between psychosemiotics and neo-formalism, nor did it offer the (often too schematic and naive) way out within the cultural studies paradigm of empowering the individual or sub-culturally constituted groups.
Movies are brilliant choices to be subjects of discourse analysis since they bear resemblance to real-life phenomena. Lion of The Desert is one of the movies that actualizes the use of the English language as the dialogue and presents Islamic historical values as its content. Among a myriad of sub-disciplines of discourse analysis, this paper attempts to investigate speech act phenomena in the utterances of Omar Mukhtar, the main character of the movie. The discourse analysis is conducted on his utterances in order to extract the types of speech acts he employs. Primary data sources include the movie video file and its script. We execute several procedural steps of extracting the data, commencing with watching the movie while reading its script; re-watching it to identify the aspects like voice, intonation, and mimics; interpreting, and classifying the types of speech acts in accordance with the classification procedure of John R. Searle’s speech act theory. The findings revealed four types of speech acts, namely, representative, directive, commissive, and expressive, being identified and classified in Mukhtar’s utterances. The most frequently used type of speech act was representative, which is performed in 56 utterances, followed by a directive act which appears in 53 utterances. Commissive and expressive speech acts emerge in 9 and 7 utterances respectively.
The question of 'Fantastic motion' is whether films in the 1910s and 1920s should be viewed as merely the forerunners of patriarchal cinema, which some colleagues believe, or whether they offered - and still offer - alternatives to a female audience. The author makes a case for the latter possibility and searches for explanations for the enjoyable and liberating sensations they, as women, experienced while becoming acquainted with early film. Using a historical and contextual approach, Schlüpmann investigates genres including non-fiction, comedy and romantic drama from the early 1910s, and describes how the significance of notions such as the beauty of nature, the culture of humour and love could have been adopted into the perception of women filmgoers at the time.
Following Hannah Arendt's remarks on refugee camps as spaces of 'worldlessness', I examine how, in films on European asylum facilities, systemic violence 'makes itself known' in images of nature. Nature separates and isolates ("La Forteresse", "Forst"), it constitutes a sphere of domination and control ("View from Above"), and it functions directly as a murder weapon ("Purple Sea"). Nature, in these films, indicates the Outside within, haunted by the latent and ghostly presence of systemic violence.
From 1945 to the early 1960s, the US government undertook numerous atomic and hydrogen bomb tests. These full-scale explosions were recorded on film from various angles, and at different speeds. Indeed, it soon became required to obtain images of the very first milli-seconds of the expanding phase of the atomic fireball. Ultrahigh-speed cameras able to produce such images were specifically developed for that purpose. This article explores the different “media-temporalities” that intersect in those images. I focus on the “micro-processes happening on a technical level that are very fast,” and more specifically the ones that go into the “Rapatronic camera” designed by Harold Edgerton (head of the US national defense contractor company EG&G) to record the atomic fireball early formation. The scientific slow-motion films and high-speed photographic images operate at the junction of the micro-scale temporality of the atomic explosions’ early phases, and the macro-scale temporality of the political and ecological implications of these explosions. I argue that these films are the objects and inscriptions of micro-temporalities, macro-history and geological times.
Marcus Coelen's essay 'An Eclipse of the Screen: Jorge Semprún's Scripts for Alain Resnais' starts from the assumption that the peculiar status of film scripts (not written to be read as such) can be illustrated by the figure of their eclipse. For they are, in inverting the very logic of the figure they invite, eclipsed for the sake of and by the fractured light on the screen they help to produce. Yet just as the sun, obscured by the 'black writing' of the moon, leaves an ephemeral contour in the skies - a spectacle to many when happening - so too can the script that is made to disappear by the screen be assumed to draw its own particular and even more vanishing traits into the movie that is given not only to sight but also to thought. The analyses and critical constructions proposed by Coelen try to detect such traits in the work of Jorge Semprún the screen writer. Writing not only for movies by Alain Resnais - most notably "La guerre est finie" (1966) and "Stavisky" (1974) - but also publishing versions of them after their release and calling those versions 'scénarios' despite various divergences and subtly violent inversions of the movies' images, the screenwriter's figure describes yet another twist of the eclipse. It can be assumed not only that Semprún strongly resisted the influence of the constellation formed by writing and cinematographic shooting, as well as projecting, but furthermore that this writing was almost imperceptibly yet essentially directed against the eclipse it was drawn into. No minor forces are conjured up in this enterprise. Driven by the desire to re-appropriate cinema's a-personal and anti-psychological movement, to domesticate the images of scribbling lights drifting away from the mental and into thought - as well as into a history not mastered -, Semprún attempted to shape mastery itself and most traditional forms of authorship, along with memory and agency, in order to cloud the eclipse of script - that is, we might add, to conjure up a ghost recovering the trace of what has been eclipsed so that it may continue to haunt.
Volker Woltersdorff's essay 'Sexual Ghosts and the Whole of History: Queer Historiography, Post-Slavery Subjectivities, and Sadomasochism in Isaac Julien's "The Attendant"' discusses the controversial concept of wholeness in historiography with regard to the fascination with past horrors and the desire to do justice to their victims who retain a ghostly presence. The essay retraces how this commitment produces a dilemma, as it can result either in the aspiration to historical wholeness as full memoralization or alternatively in the radical rejection of wholeness as an impossible healing. Employing Elizabeth Freeman's notion of 'erotohistoriography', Woltersdorff introduces affect into the work of historiography in order to find an escape from the dilemmatic impasse between history's wholeness as pacified reconciliation and as ongoing catastrophe along the lines of Walter Benjamin. Sadomasochism is presented as a practice that may correspond most adequately to the paradoxical affect caused by traumatic history that continues to haunt the present. Indeed, re-enactments of historical oppression and violence occur frequently within the BDSM community. However, what distinguishes them from 'living history' re-enactments is their potential to modify affective attachments to history by altering the historical script. The essay elaborates this potential through Isaac Julien's 1993 short film "The Attendant", which, in a kind of queer re-enactment, overwrites the memory of colonial chattel slavery by a sadomasochistic encounter of a black guardian and a white visitor in a museum dedicated to the history of slavery. The film raises the ethical and political question of how to relate affectively to the legacy and ongoing presence of racism. Against this backdrop, the author argues that, through the BDSM scenario and its changes to the historical script, Julien's film represents and promotes a paradoxical way to perform both the memorialization and the forgetting of past horrors and pleasures. Here, historical wholeness acquires a conflicting double meaning of both achieving completeness and restoring integrity. Woltersdorff concludes by interpreting "The Attendant" as urging a utopian perspective, produced by the tension between the impossibility of history's wholeness and the necessary, reparative desire for it. The article concludes by highlighting the paradox that Julien's film shows wholeness 'to be impossible and yet necessary' and 'expresses a necessary desire made impossible'. While the essay explicitly engages with the figure of haunting, one could perhaps speak here also of plasticity insofar as the contradictory conjunction of remembering and forgetting seems to rely on a malleability of affects and on producing an affective economy that sustains the fantasmatic remembrance of a painful past through paradoxical pleasure but breaks with any pleasure derived from real inequality, injustice, or suffering imparted non-consensually.
Ascribing to the premise that film festivals are crucial to the production of cultural memory, this article explores different parameters through which festivals shape our reception of films. In its focus on the Asian American film festival CAAMFest, the article reveals that festivals are part of a complex network of actors whose different agendas influence the narratives produced around the film, direct its role as memory object and encourage memories to travel. What is more, it shows that festival locations—from the city in which a festival takes place to the concrete venue in which a film is screened—play a significant role in shaping our experience and understanding of films. Finally, it establishes that festivals create frames for their films, constructed through and circulated by the various festival media and live performances at the festival events. Bringing together film festival studies and memory studies, the article makes use of an interdisciplinary approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of acts of framing, locations and networks of actors shaping the festival’s memory production. It also draws attention to the understudied phenomenon of Asian American film festivals, showing how such a festival may actively engage in constructing and performing a minority group’s collective identity and memory.
Resolution
(2019)
Many parodies operate through temporal strategies that distort the narrative proportions of their targets. This essay discusses two texts that manipulate time for parodic purposes: the contemporary animated sitcom "Bojack Horseman" and the twelfth-century romance "Ipomedon". Their shared method involves the absurd prolongation of narrative structures of resolution and satisfaction in order to reveal these structures' arbitrary nature. But this method, in turn, shows that resolution - a retrospective determination of shape and meaning - can never be avoided entirely, even if it can be deferred.
Repetition
(2019)
Serial texts must repeat, so that they can be recognized, but they must also change, so that they can remain interesting. Unusual temporal manipulations can emerge in such texts in order to balance these contradictory demands. This essay studies two serial texts whose need for self-extension produces a suspension of historical time: the contemporary animated sitcom "The Simpsons", and medieval romance as theorized by the twelfth-century poet Wace. I suggest that we might name this temporal constraint fiction.
Recovery
(2019)
Despite the increasing incidence of eating disorders, very few films have addressed these conditions in particular. What's more, most of the US-American mainstream fiction films that deal with eating disorders tend to be built on anachronistic clichés, hardly depicting their broad array. Furthermore, the traditional narrative structure of beginning, middle, and (happy) end misrepresents the erratic temporality of eating disorder symptoms as well as the nonlinear phases of recovery and relapse.
In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the film: the family members are shown in various scenes that follow one another in seemingly random order. Instead of a cohesive narrative unfolding in time, there reigns a sense of timelessness that gives rise to an oppressive feeling of drifting. Claudia Peppel's essay 'The Guest: Transfiguring Indifference in "Teorema"' explores the figure of the guest, which has always been closely connected with myth and whose appearance often triggers the dramatic conflict. Peppel focuses on "Teorema", in which a sensual stranger causes a bourgeois family to acknowledge its delusions. When he departs, the members of the family are left in a state of unfulfilled yearning, searching for new meaning. While critical literature on Pasolini regularly points to the importance of the figure of the guest but rarely analyzes it, Peppel discusses theories of the guest and hospitality to illuminate the role of the stranger in Pasolini's film. The guest's exceptional state, which is removed from everyday life and removes others from their everyday lives, is meticulously staged and resembles the evenly-suspended attention of the psychoanalyst. He triggers projections, desires, and, ultimately, existential crises.
Figura lacrima
(2012)
Hervé Joubert-Laurencin’s article 'Figura Lacrima', which explores Pasolini's figure of Christ, consists of two interconnected parts. The part called 'Lacrima' argues that Pasolini's Christ sheds a small tear which is analogous to the salvific tear of Dante's Bonconte da Montefeltro. This heretical tear is not explicitly referred to or shown but can only be perceived through the coherent text represented by the ensemble of Pasolini's films. The part called 'Figura' argues that Pasolini invents the new concept of 'figural integration', which extends beyond Erich Auerbach's analysis of medieval figural and typological interpretation and allows him to conceptualize a kind of non-dichotomous tension between the poles structuring his thought and art. Joubert-Laurencin argues thereby that Pasolini's scandal of Christ's small tear is not the simple provocation of a sinful Christ, but the utopian image of a West that frees itself from its own closure through the promise of another world, coming not from somewhere else but from the powers of an outside that it possesses within itself.
Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a modality in Pasolini's politics of aesthetics that seeks to grasp the fundamental transformation from a rural-proletarian to a petit-bourgeois Italy. Since the mid-'60s, Pasolini was concerned with the bourgeoisie and its utopian potentials, which he sought to make productive by reading Classical tragedy as a possibility to make contradictions visible. Pasolini realized his reading of the Classical tragedy by having 'Africa' and 'Europe' - as he understood them - confront one another without mediation. By means of film analyses and film theory, Groß argues that this confrontation, especially in the films on the ancient world, generates an aesthetic place where the incompatible can unfold in the spectators' experience.
The body of the actor : notes on the relationship between the body and acting in Pasolini's cinema
(2012)
Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the spectator to experience directly a complex and polyvalent reality beyond the traditional idea of 'representation'. As a fragment of that reality, actors quote and present themselves beyond and through their interpretations of a role. Instead of conceiving of the actor as a 'professional of fiction', Pasolini employs a variety of actors who are able fully to convey their own anthropological history. It is particularly the body of the actor, Grieco concludes, that becomes a door opening towards a deeper reality. For instance, the figure of Ninetto Davoli can push us back towards Greek antiquity, and the codified art of the comedian Totò or the iconic fixity of Maria Callas can interact with the African faces of the possible interpreters of an African Oresteia.
Manuele Gragnolati's paper 'Analogy and Difference: Multistable Figures in Pasolini's "Appunti per un'Orestiade africana"' discusses Pasolini's preference for the figure of contradiction and his opposition to Hegelian dialectics by exploring his attempt to look at Africa's process of modernization and democratization in the 1960s as analogous to the synthetic transformation of the Furies into Eumenides at the end of Aeschylus's trilogy. Gragnolati shows that Pasolini is aware of the dangers of analogy, which risks imposing the author's or filmmaker's symbolic order onto that of the 'other' represented in the text or film, and he argues that Pasolini seeks to deal with this danger by constantly shifting back and forth between differing positions. "Appunti per un'Orestiade africana" can thereby be thought as a multistable figure that is left suspended and not only resists synthesis, but also problematizes its own feasibility and challenges its own legitimacy.