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This article considers how poetry features in Pasolini's cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound's poetry provides a soundtrack for the spectacle of torture in which the film's libertines engage. Following this, I consider Pasolini's 1965 text "The Cinema of Poetry" and use this text as a way of reading the role played by a copy of Rimbaud's collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film. [ABSTRACT FROM AUTHOR]

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Two albums of original pop songs were produced to accompany The Hunger Games (2012) and Catching Fire's (2013) film adaptations. Over half of the contributing musicians employed religious vocabulary and motifs foreign to their source material. Possible influences discussed include religious paradigms associated with the Appalachian-inspired music of the first album, the apocalyptic impulse of contemporary dystopia, and the evolving role of religious imagery within postmodern pluralism. Ultimately, it is argued that despite the areligious content of The Hunger Games, the series' literary genre and cultural context facilitate the blending of the sacred and secular in ways unexpected but not incongruous. [ABSTRACT FROM AUTHOR]

Copyright of F@ro: Revista Teórica del Departamento de Ciencias de la Comunicación y de la Información is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Journal of Educational Research, Assessment & Evaluation / Revista Electrónica de Investigación y Evaluación Educativa is the property of RELIEVE - Revista Electonica de Investigacion y Evaluacion Educativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)