Offers the first book-length, English-language examination of three adaptations of Greek tragedy produced by the gay and Marxist Italian filmmaker Pier Paolo Pasolini. Archaic Modernism makes the case that these three films are as essential as those Pasolini films more often studied in the Anglophone world.
Foregrounding a fundamental aspect of the Swedish auteur's work that has been routinely ignored, as well as the vibrant connection between postwar American queer culture and European art cinema, this book offers a pioneering reading of Bergman's films as
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