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1981
1-2: Film, Fashion, Costume in Italy and Beyond
  • ISSN: 2047-7368
  • E-ISSN: 2047-7376

Abstract

This article examines the collaboration between Pier Paolo Pasolini and Danilo Donati. Pasolini wanted the aesthetic of to evoke an ‘indistinct barbaric’ feel and asked the great costume designer Danilo Donati for a mélange of Persian, Sumerian, Aztec and African art. Pasolini sought the shapes, the drawings and the sculptures of an archaic civilization, but mixed together, adhering to the Pasolinian method of contamination, so that they would lose their original identity in a new form that at the same time recalled ancient cultures or, in the case of the African art, even tribal history.

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/content/journals/10.1386/jicms_00257_7
2024-04-16
2026-04-20

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References

  1. Bertini, Antonio (1979), ‘Danilo Donati, costume designer’, in A. Bertini (ed.), Theory and Technique of the Film in Pasolini, Rome: Bulzoni, pp. 195202.
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  2. Farani, Piero (1996), ‘The craft of the costume designer: Dialogue with Arturo Carlo Quintavalle’, in A. C. Quintavalle (ed.), Atelier Farani: Pasolini: The Costume of the Film, Parma and Milano: Skira and CSAC University of Parma, pp. 1214.
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  3. Fieschi, Jean-André (1967), ‘Pier Paolo Pasolini: “Edipo Rè”’, Cahiers du Cinéma, 195, pp. 1316.
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  4. Quintavalle, Arturo Carlo (1996), Atelier Farani: Pasolini: il costume del film, Parma and Milano: Skira and CSAC University of Parma.
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  5. Rusconi, Marisa (1967), ‘Interview with Pier Paolo Pasolini, “Pier Paolo Pasolini e l’autobiografia”’, Sipario, 258, pp. 2627.
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/content/journals/10.1386/jicms_00257_7
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