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Paraphrase on Matthew

Paraphrase on Matthew Reviews / ERSY 29 ( 2009 ) 103 – 143 115 © Koninklijke Brill NV, Leiden, 2009 DOI: 10.1163/027628509X12548457758104 Collected Works of Erasmus, Volume 45 : Paraphrase on Matthew , trans. and annot. Dean Simpson, ed. Robert D. Sider (Toronto: University of Toronto Press, 2008 ). xvi, 449 pp. ISBN 978 - 0 - 8020 - 9299 - 1 . In the movie The Gospel According to St. Matthew , the great Italian filmmaker Pier Paolo Pasolini took for his screenplay a minimally adapted version of the words attributed to Jesus in Matthew’s gospel. Utilizing stark black-and- white cinematography together with abrupt and sometimes disorienting scene changes, Pasolini created an apocalyptic cinematic portrait of Jesus, a man whose revolutionary rhetoric led to his execution at the hands of the privileged and powerful. Part of what is surprising about Pasolini’s Jesus, I think, is how very much he seems to have had to say, in spite of the relative brevity of Matthew’s gospel. By simply taking a good portion of the words attributed to Jesus and having his young amateur actor say them into the camera, Pasolini created his jolting, revolutionary Christ, an image which mirrored Pasolini’s own radical http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Erasmus of Rotterdam Society Yearbook Brill

Paraphrase on Matthew

Mattox, Mickey
Erasmus of Rotterdam Society Yearbook , Volume 29 (1): 115 – Jan 1, 2009
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Publisher
Brill
Copyright
© 2010 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0276-2854
eISSN
1874-9275
DOI
10.1163/027628509X12548457758104
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Abstract

Reviews / ERSY 29 ( 2009 ) 103 – 143 115 © Koninklijke Brill NV, Leiden, 2009 DOI: 10.1163/027628509X12548457758104 Collected Works of Erasmus, Volume 45 : Paraphrase on Matthew , trans. and annot. Dean Simpson, ed. Robert D. Sider (Toronto: University of Toronto Press, 2008 ). xvi, 449 pp. ISBN 978 - 0 - 8020 - 9299 - 1 . In the movie The Gospel According to St. Matthew , the great Italian filmmaker Pier Paolo Pasolini took for his screenplay a minimally adapted version of the words attributed to Jesus in Matthew’s gospel. Utilizing stark black-and- white cinematography together with abrupt and sometimes disorienting scene changes, Pasolini created an apocalyptic cinematic portrait of Jesus, a man whose revolutionary rhetoric led to his execution at the hands of the privileged and powerful. Part of what is surprising about Pasolini’s Jesus, I think, is how very much he seems to have had to say, in spite of the relative brevity of Matthew’s gospel. By simply taking a good portion of the words attributed to Jesus and having his young amateur actor say them into the camera, Pasolini created his jolting, revolutionary Christ, an image which mirrored Pasolini’s own radical

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Erasmus of Rotterdam Society Yearbook – Brill

Published: Jan 1, 2009

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