BEGIN:VCALENDAR
VERSION:2.0
PRODID:-ABConcerts-events
METHOD:PUBLISH
BEGIN:VEVENT
TRANSP:OPAQUE
DTSTART:20091012T190000
DTEND:20091012T223000
SUMMARY:Goffredo Plastino 'Ghosts' + 'Decamerone'
LOCATION:AB Salon - zittend (Steenstraat 11\, 1000 Brussels)
DESCRIPTION:&  presenteren    19u00 - Ghosts. Alan Lomax’s field\nrecordings in Pier Paolo Pasolini’s Decamerone by Goffredo\nPlastino (Newcastle University)    We don’t know if Alan\nLomax and Pier Paolo Pasolini did actually meet while Lomax\nwas in Italy making his fieldwork\, in 1954-55. However\,\nmany field recordings made by Lomax during his Italian\nresearch have been used by Pasolini in the making of his\nDecameron’s soundtrack.The first indirect connection\nbetween Lomax and Pasolini is the issue 17-18 of the journal\nNuovi Argomenti\, published in 1956. A very special issue\,\nfor it includes: some unpublished chapters of the novel La\nciociara by writer Alberto Moravia (also co-editor of the\njournal); the first edition of Pasolini’s celebrated poem\nLe ceneri di Gramsci (“Gramsci’s Ashes”); the first\nedition of the poem L’uva puttanella by Rocco Scotellaro -\nthe so-called “peasant-poet”\, one of the most\nsignificant Italian poets of the Neorealstic period; and a\nlong essay by Lomax on Italian and Mediterranean folk\nmusics\, that will be the basis of his subsequent\nresearches. An extraordinary issue of Nuovi Argomenti\,\nthen\, that represents one of the highest moments of Italian\nleft cultural movement in and since the ’50s\, and\ntestifies the role that Lomax has shortly played in that\ncontext. The second oblique and “hidden” connection\nbetween Lomax and Pasolini is the movie Decameron (released\nin 1971). The soundtrack almost entirely consists of\nrecordings made by Alan Lomax in Campania and Calabria\,\nwith the exception of two classic Neapolitan songs a a few\nsecond of religious vocal music. Some of these recordings\nwere\, at the time of the release of the movie\,\nunpublished. Alan Lomax did know nothing about this use of\nhis recordings by Pasolini; he is not mentioned in the\nopening credits\, where there is reference only to Pasolini\nas editor of the soundtrack\, and to Ennio Morricone as\nconsultant.The lecture will consider the use of Lomax’s\nItalian field recordings already in the Italian cinema of\nthe 50s (specifically in the documentaries by Vittorio De\nSeta)\, and then the presence of Lomax’s recordings in\nDecameron’s soundtrack: through some movie’s excerpts\,\nit will be explained what kind of work Pasolini did on the\noriginal recordings\, and what meaning they have in the\nfilm.Goffredo Plastino is Reader in Ethnomusicology at the\nInternational Centre for Music Studies\, Newcastle\nUniversity (United Kingdom). He has published widely on\nLomax’ Italian and Spanish field recordings\, on folk and\npopular Mediterranean musics\, on jazz. 21u00 -\n'Decamerone' (Pier Paolo Pasolini)Een vrouw die een\nrijke jongeman verleidt en hem vervolgens vernedert\, een\npriester die een duiveluitdrijving misbruikt om sek te\nhebben of een man die zich als gehandicapte uitgeeft om een\nklooster vol jonge nonnen binnen te raken: in Il\nDecamerone\, het eerste deel van zijn 'Trilogie van het\nleven'\, vertelt Pasolini acht ironische verhalen uit\nhet gelijknamige boek van Boccaccio over seksuele\nverleiding. Het trait-d’union tussen de verschillende\nsequenties is de schilder Giotto\, gespeeld door Pasolini\nzelf\, die een fresco probeert te voltooien.   \nCINEMATEKLedouxzaalBaron Hortastraat 91000 Brusselinfo &\ntickets (3\,00 euro) : 02 551 19 19 - www.cinematek.be
URL;VALUE=URI:https://www.abconcerts.be/nl/agenda/goffredo-plastino-ghosts-decamerone/a105J000001wgahQAA
UID:ABConcerts_event_9171e66c-599f-11eb-8503-5254eb761bff
SEQUENCE:0
DTSTAMP:20260410T021815Z
END:VEVENT
END:VCALENDAR