Abstract

The essay develops a detailed textual analysis of La ricotta (P.P. Pasolini, 1963) that focuses in particular on three broad issues. The first concerns the textual figure of repetition, of which the analysis notes the fundamental compositional role in the film. The second relates to the different types of connections, constructed by the film, between visual and sound representations. The third focuses on color, observed in terms of its formative and transformative power within the film. The essay connects each of these issues to a series of thoughts contained in Eisenstein’s great meditation on film composition.