{"id":14284,"date":"2013-09-11T02:35:58","date_gmt":"2013-09-11T01:35:58","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14284"},"modified":"2013-09-11T02:38:27","modified_gmt":"2013-09-11T01:38:27","slug":"qualia","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/09\/11\/qualia\/","title":{"rendered":"Qualia"},"content":{"rendered":"

\"qualia2.jpg\"<\/a><\/p>\n

Qualia<\/em> is a 10-minute film by Vincent Ciciliato subtitled “A remake of Sal\u00f2<\/em>“, a reference to Pasolini’s notorious Sadeian indictment of Italian Fascism, Sal\u00f2, or the 120 Days of Sodom<\/em><\/a> (1975). Calling this a remake is something of a stretch, it’s more accurate to describe it as a mash-up of vague gestures in the direction of Pasolini’s grim tableaux via Zbigniew Rybczynski’s celebrated short film, Tango<\/em> (1980). The latter is represented by the single room in which the action develops, and the jerking movements of the actors although their movements don’t attempt to match the clever dispersal of Rybczynski’s characters. We’re not exactly starved of unusual juxtapositions these days but a Sal\u00f2\/Tango<\/em> mash-up is something I wouldn’t have expected to see. Watch it here<\/a>.<\/p>\n

\"qualia.jpg\"<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Tango<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Qualia is a 10-minute film by Vincent Ciciliato subtitled “A remake of Sal\u00f2“, a reference to Pasolini’s notorious Sadeian indictment of Italian Fascism, Sal\u00f2, or the 120 Days of Sodom (1975). Calling this a remake is something of a stretch, it’s more accurate to describe it as a mash-up of vague gestures in the direction … Continue reading “Qualia”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7],"tags":[1493,5170,3765],"class_list":["post-14284","post","type-post","status-publish","format-standard","hentry","category-film","tag-pier-paolo-pasolini","tag-vincent-ciciliato","tag-zbigniew-rybczynski"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/sq7rV-qualia","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14284","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=14284"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14284\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14284"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14284"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}