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Recognized in America chiefly for his films, Pier Paolo Pasolini (19221975) in fact reinvented interdisciplinarity in postwar Europe. Pasolini selfconfessedly approached the cinematic image through painting, and the numerous allusions to early modern frescoes and altarpieces in his films have been extensively documented. Far less understood, however, is Pasolinis fraught relationship to the aesthetic experiments of his own age. In Against the AvantGarde, Ara H. Merjian demonstrates how Pasolinis campaign against neocapitalist culture fueled his hostility to the avantgarde. An atheist indebted to Catholic ritual; a revolutionary communist inimical to the creed of 1968; a homosexual hostile to the project of gay liberation: Pasolini refused the politics of identity in favor of a scandalously paradoxical practice, one vital to any understanding of his legacy. Against the AvantGarde examines these paradoxes through case studies from the 1960s and 1970s, concluding with a reflection on Pasolinis farreaching influence on post1970s art. Merjian not only reconsiders the multifaceted work of Italys most prominent postwar intellectual, but also the fraught politics of a European neoavantgarde grappling with a new capitalist hegemony.
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