This chapter examines the relationship between time and the subject of perception Pier Paolo Pasolini's film Oedipus Rex. It analyzes the shots marking the encounter between the protagonist and the scenes of his infancy and shows that the same landscape presents the viewers with the coexistence of multiple temporal layers. This chapter also suggests that Pasolini's cinema of poetry constitutes a site of both perceptual emergence and philosophical articulation and argues that the film defies the very investigative impetus it is expected to celebrate.
Stanford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us.