Abstract

The article intends to analyze the relations between literature, theater and cinema, through a filmic analysis of Pier Paolo Pasolini’s adaptation of Sofocles’ Oedipus Rex. The study is based on the concepts of Nachleben and Pathosformel, by Aby Warburg; and montage, according to Sergei Eisenstein, Philippe-Alain Michaud, Georges Didi-Huberman, Marcel Martin, Vincent Amiel, among others, associating their thoughts with Pasolini’s own personal writings on cinema’s language. The objective of the article is to understand how Pasolini absorbs the elements of Classical Antiquity and transforms them through the resources of the cinematographic language, in a dialogue between cinema and other arts.