Myth, symbol and allegory in Pier Paolo Pasolini and Bernardo Bertolucci’s filmography
Abstract
The presence of myths in Pasolini can be interpreted in narratological terms, which reveal an anthropological and universalist vision of classical mythology (Lévi-Strauss, Eliade) in which the story can be interpreted as a political allegory. On the contrary, in the case of Bertolucci, the presence of myths offers viewers certain symbolic structures whose evocative power (Durand, Ricoeur) connects with the forgotten images of childhood. These primeval images help us to identify a series of archetypes and significant constellations (Jung) which help us to recover a personal and intimate story.
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