Pier Paolo Pasolini e Reyner Banham: sguardi sulla città con la macchina da presa

Every landscape exists only for the gaze that discovers it, conscious perception, judgement and description. Each gaze, implementing a double relationship with respect to the reality to which it refers, one of listening, but also one of extraneousness , returns something 'true' and something 'false'. Every landscape, therefore, takes shape in its image.between objectivity and subjectivity. In this perspective, the interest of the essay focuses on the observer considered in an active dimension, as author of visual practices, images creator. Two authorial visions were examined, relating in particular to the representation of the urban landscape. These are the audiovisuals "Pasolini e... la forma della città" (1974) and "Reyner Banham loves Los Angeles" (1972). Between classical and ideological editing, images and words, camera shots fixity and mobility, authorship triggers an active intertextuality between the object and its image, but also interprets 'renaissance, neo-realist and post-modern' views.