{"title":"Herculean Unproductivity in Pasolini’s La ricotta and Teorema","authors":"J. C. Velásquez","doi":"10.1215/17432197-9716267","DOIUrl":null,"url":null,"abstract":"Abstract:This article examines the relationship between work, capitalist productivity, and the filmmaking practice of Pier Paolo Pasolini. This article examines how Pasolini’s La ricotta and Teorema represent an interruption of labor and a contestation of the disciplining mechanisms that compel workers to work. Recuperating Jean-François Lyotard’s concept of acinema, this inquiry suggests that Pasolini creates scenes that oppose the capitalist work ethic through formal techniques associated with immobility and contingency. It deploys Hannah Arendt’s concept of action and Jacques Rancière’s dissensus to describe workers’ political actions in these films as gestures where they shed their identity as workers to enjoy life as humans. The purpose of this intervention is to reframe academic debates of anticapitalism around workers’ desire not to work. Pasolini’s films give viewers images that highlight workers’ unproductive potentials, thereby giving them examples of immobile, nonwork dissensual actions, or Herculean unproductivity.","PeriodicalId":35197,"journal":{"name":"Cultural Politics","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cultural Politics","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/17432197-9716267","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Social Sciences","Score":null,"Total":0}
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Abstract
Abstract:This article examines the relationship between work, capitalist productivity, and the filmmaking practice of Pier Paolo Pasolini. This article examines how Pasolini’s La ricotta and Teorema represent an interruption of labor and a contestation of the disciplining mechanisms that compel workers to work. Recuperating Jean-François Lyotard’s concept of acinema, this inquiry suggests that Pasolini creates scenes that oppose the capitalist work ethic through formal techniques associated with immobility and contingency. It deploys Hannah Arendt’s concept of action and Jacques Rancière’s dissensus to describe workers’ political actions in these films as gestures where they shed their identity as workers to enjoy life as humans. The purpose of this intervention is to reframe academic debates of anticapitalism around workers’ desire not to work. Pasolini’s films give viewers images that highlight workers’ unproductive potentials, thereby giving them examples of immobile, nonwork dissensual actions, or Herculean unproductivity.
期刊介绍：
Cultural Politics is an international, refereed journal that explores the global character and effects of contemporary culture and politics. Cultural Politics explores precisely what is cultural about politics and what is political about culture. Publishing across the arts, humanities, and social sciences, the journal welcomes articles from different political positions, cultural approaches, and geographical locations. Cultural Politics publishes work that analyzes how cultural identities, agencies and actors, political issues and conflicts, and global media are linked, characterized, examined, and resolved. In so doing, the journal supports the innovative study of established, embryonic, marginalized, or unexplored regions of cultural politics. Cultural Politics, while embodying the interdisciplinary coverage and discursive critical spirit of contemporary cultural studies, emphasizes how cultural theories and practices intersect with and elucidate analyses of political power. The journal invites articles on representation and visual culture; modernism and postmodernism; media, film, and communications; popular and elite art forms; the politics of production and consumption; language; ethics and religion; desire and psychoanalysis; art and aesthetics; the culture industry; technologies; academics and the academy; cities, architecture, and the spatial; global capitalism; Marxism; value and ideology; the military, weaponry, and war; power, authority, and institutions; global governance and democracy; political parties and social movements; human rights; community and cosmopolitanism; transnational activism and change; the global public sphere; the body; identity and performance; heterosexual, transsexual, lesbian, and gay sexualities; race, blackness, whiteness, and ethnicity; the social inequalities of the global and the local; patriarchy, feminism, and gender studies; postcolonialism; and political activism.
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