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VERSION:2.0
PRODID:-ABConcerts-events
METHOD:PUBLISH
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TRANSP:OPAQUE
DTSTART:20091012T190000
DTEND:20091012T223000
SUMMARY:Goffredo Plastino 'Ghosts' + 'Decamerone'
LOCATION:AB Salon - zittend (Steenstraat 11\, 1000 Brussels)
DESCRIPTION:&  present    7:00 pm - 'Ghosts'. Alan\nLomax’s field recordings in Pier Paolo Pasolini’s\nDecamerone by Goffredo Plastino (Newcastle University)We\ndon’t know if Alan Lomax and Pier Paolo Pasolini did\nactually meet while Lomax was in Italy making his\nfieldwork\, in 1954-55. However\, many field recordings made\nby Lomax during his Italian research have been used by\nPasolini in the making of his Decameron’s soundtrack.The\nfirst indirect connection between Lomax and Pasolini is the\nissue 17-18 of the journal Nuovi Argomenti\, published in\n1956. A very special issue\, for it includes: some\nunpublished chapters of the novel La ciociara by writer\nAlberto Moravia (also co-editor of the journal); the first\nedition of Pasolini’s celebrated poem Le ceneri di Gramsci\n(“Gramsci’s Ashes”); the first edition of the poem\nL’uva puttanella by Rocco Scotellaro - the so-called\n“peasant-poet”\, one of the most significant Italian\npoets of the Neorealstic period; and a long essay by Lomax\non Italian and Mediterranean folk musics\, that will be the\nbasis of his subsequent researches. An extraordinary issue\nof Nuovi Argomenti\, then\, that represents one of the\nhighest moments of Italian left cultural movement in and\nsince the ’50s\, and testifies the role that Lomax has\nshortly played in that context. The second oblique and\n“hidden” connection between Lomax and Pasolini is the\nmovie Decameron (released in 1971). The soundtrack almost\nentirely consists of recordings made by Alan Lomax in\nCampania and Calabria\, with the exception of two classic\nNeapolitan songs a a few second of religious vocal music.\nSome of these recordings were\, at the time of the release\nof the movie\, unpublished. Alan Lomax did know nothing\nabout this use of his recordings by Pasolini; he is not\nmentioned in the opening credits\, where there is reference\nonly to Pasolini as editor of the soundtrack\, and to Ennio\nMorricone as consultant.The lecture will consider the use of\nLomax’s Italian field recordings already in the Italian\ncinema of the 50s (specifically in the documentaries by\nVittorio De Seta)\, and then the presence of Lomax’s\nrecordings in Decameron’s soundtrack: through some\nmovie’s excerpts\, it will be explained what kind of work\nPasolini did on the original recordings\, and what meaning\nthey have in the film.Goffredo Plastino is Reader in\nEthnomusicology at the International Centre for Music\nStudies\, Newcastle University (United Kingdom). He has\npublished widely on Lomax’ Italian and Spanish field\nrecordings\, on folk and popular Mediterranean musics\, on\njazz.    9:00 pm - 'Decamerone' (Pier Paolo\nPasolini)A woman who seduces a rich young man and\nsubsequently humiliates him\, a priest who misuses an\nexorcism in order to have sex\, or a man who pretends to be\nhandicapped in order to get inside a convent full of young\nnuns: in Il Decamerone\, the first part of his 'Trilogy\nof life'\, Pasolini tells eight ironic tales from the\nbook of the same name by Boccaccio about sexual temptation.\nThe link between the various sequences is the painter\nGiotto\, played by Pasolini himself\, who attempts to\ncomplete a fresco.    CINEMATEKLedouxzaalBaron Hortastraat\n91000 Brusselinfo & tickets (3\,00 euro) : 02 551 19 19\nor www.cinematek.be
URL;VALUE=URI:https://www.abconcerts.be/en/agenda/goffredo-plastino-ghosts-decamerone/a105J000001wgahQAA
UID:ABConcerts_event_9171e66c-599f-11eb-8503-5254eb761bff
SEQUENCE:0
DTSTAMP:20260410T004130Z
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