This article was downloaded by: [The University of British Columbia] On: 23 August 2012, At: 01:24 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Curriculum and Pedagogy Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ujcp20 Pasolini's Public Pedagogy in a YouTube World Chelsey Hauge a a University of British columbia Version of record first published: 02 Jan 2012 To cite this article: Chelsey Hauge (2010): Pasolini's Public Pedagogy in a YouTube World, Journal of Curriculum and Pedagogy, 7:2, 19-21 To link to this article: http://dx.doi.org/10.1080/15505170.2010.10471329 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/ terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused
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This article was downloaded by: [The University of British Columbia]On: 23 August 2012, At: 01:24Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number:1072954 Registered office: Mortimer House, 37-41 Mortimer Street,London W1T 3JH, UK
Journal of Curriculum andPedagogyPublication details, including instructionsfor authors and subscription information:http://www.tandfonline.com/loi/ujcp20
Pasolini's Public Pedagogyin a YouTube WorldChelsey Hauge aa University of British columbia
Version of record first published: 02 Jan2012
To cite this article: Chelsey Hauge (2010): Pasolini's Public Pedagogy in aYouTube World, Journal of Curriculum and Pedagogy, 7:2, 19-21
To link to this article: http://dx.doi.org/10.1080/15505170.2010.10471329
PLEASE SCROLL DOWN FOR ARTICLE
Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions
This article may be used for research, teaching, and private studypurposes. Any substantial or systematic reproduction, redistribution,reselling, loan, sub-licensing, systematic supply, or distribution in anyform to anyone is expressly forbidden.
The publisher does not give any warranty express or implied or makeany representation that the contents will be complete or accurateor up to date. The accuracy of any instructions, formulae, and drugdoses should be independently verified with primary sources. Thepublisher shall not be liable for any loss, actions, claims, proceedings,demand, or costs or damages whatsoever or howsoever caused
arising directly or indirectly in connection with or arising out of theuse of this material.
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that engages teachers ' intellect in creative and powerful way s'! In w hat waysmight colla borat ive, dialogic communities of practice reignite teacher agency '!
To down load a com plete file of participant responses, visithttp://www.curriculuma ndpedagogy.org/JCP7-2.htm l
Pasolini's Public Pedagogy in a You Tube World
CHELSEY HAUGEU Il / I'l'I;, /ty 4 Brit1:'/.' C{1/IIIl1/)I~l
Search for Pasolirii's Sz!,) on You Tube. and th e list that appears includes
hundreds of videos. Many are clips taken di re ctly from the film, while others are trailers made by users who created montages of selected scenes.The re are a lso vid eo journals of people talking about their re actions to Sa/,)from all kinds of perspecti ves . The top-grossing video of those on the list ,with over 300,000 viewings , is a montage of scen es that g ive little indi ca tio n
of the violence a nd horror that define the film.It is doubtful that Pasolini imagined Sz!,) in a You Tube world, although
the fragm ents of Sz!ti th at a re pu lsing through the Internet might not surprise him . A ce ntra l concern of Pasolinis "vas th e social ro le of intellectualsand artists: " Paso lini insi st s that far from cha nging society, w riters andfilm makers ca n do little more - and ev en th is ' little ' is problematic - th anoffer creative resistance to [the] triumph of technologica l neocapita lism "(Green, I990, in Pinal', 2009. p. 119) . More than 30 years late r, Pasolini 's"creative resistance to [the] triumph of technologica l neocapitalism " manifests itse lf through the appearance of clips from .s~llt) on You Tube . Can a nold film by a master artist about the horrors of fascism be re pur posed de cades later in a co rpora te -ow ned participatory space like YouTube,thereby offering a form of resistance for an e nt irely different community '!Can th ere be "c reative re sistance to [the] triumph of te chnological neo
capitali sm " on an Inte rnet s ite whose growth sterns direct ly out of technolog ica l neo capitalism ? Does SalJ's fragme nted existe nc e on You Tube,where a digital public watches and comme nts on its clips, constitute cos-
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20 Jonrna l l~fCur r i cu lum a//f) Pcda.lJo.lJY
rn o pol itan e ngagement w it h a pi ece of art t hat is te mpora lly, h is to r ically ,
a nd c u Iturally si tuat cd ?For Pa sol ini , "ci ne ma was b u t th e most p ub lic a nd spectac u lar cx p res
sion of his co m m itme nt to 'perma ne nt interve ntion.' a co m m itme nt co n
stan tly renewed and re- expressecl as each new film opposed sti ll anothe r'
configuration of politica l and social cod es and co nve ntio ns" (Pi na l'. 2009, p.
141 ) . Th is pub lic pedagogica l att empt to interven e with soc ia l cod es a nd
conventio ns bears th e mark ings o f what Cee rtz Lovink (Garc ia & Lovi n k ,
1997) ca lls ta c tica l media - es pec ia lly o nce it is posted in a fre e- use space
like YouTube. Tact ical media is the exploitation of do-it-yourse lf. inexpe n
sive m ed ia tool s by co m m u n ities or groups w hose beliefs are not main
stream. Tact ical media is hy b r id a nd provisional. a nd it di srupts
d ic hotomies like a mateur versus p ro fessio nal a nd a lte rnat ive versu s mai n
stream , Y ou T u be a llows users to post v ideos up to 12 min ut es long , a nd it is
wi th in t h is space th at a number of use rs ha ve posted , d own loa d ed . repu I'
posed, a nd rem ixed fragme nts of Pasolirii' s mast e rpiece Salt>.On YouTube, the lin es defining a mate u r and p rofession al. artist a nd
v iewer' a re increasingly bl urr y . \Vh ile Paso lini 's co nce r n about the socia l
role of t he inte llectual a nd th e artist is s t ill re levant, on YouTube w e se e
no np rofessio nal user s rcpurposing cl ips from his film to ha ve co nve rsa t io ns
not o n ly abou t Iasc ism . bu t a lso abou t viole nce in fi lm a nd t he role of th e
film in soc iety . \ Vhil e muc h of the co nve rsa t io n is l ~l i dy s u pe rfic ia l. t he re
are co nt r ib u t io ns t hat serio usly e ngage a ra nge o f topics relevant to Sa/li.The fragme nts from Slli thu s beco m e a pedagogica l in rcrvc nr ion th at e re
ates co nve rs a t io n a bout both the specific film and its histo r ical signifIcance.
and about the role of film and a rt in g'e nera l. T he co nvers a tions are tran
sie nt and brief'. T hat this space exists at a ll for these tra ns ient, brie f COI1\'e r
satio ns may disrupt "te c hnologica l neocapira lism" by s ig na ling the use of
space provided by co r por'a te Coogle to e ngage in co nve rs a t io n about artisti c
purpose and t he d isrup tion of dom inant soc ia l a nd politi ca l cod es a nd co n
ventions , Hovvever. is t his d isrupt io n one that (h; 'lli r/J" tec hnologica l neo
ca p ita lism, or is it 11pro(JIle! 0/tech nolog ical neocapira lis rn ? T he cl ips of S zfd,
t he re m ixes , and th e com me nts are made poss ib le th l'o ugh the co nt inued
(capita list) ec o nom ic success of Coogle, just as the show ing of Pa so lini 's
film was depende nt u pon the te c hnological faci litat ion of w hateve r the lea d
ing tape/camera/screen producer' was at t he t ime . These co nt ra d ict io ns are
not unique to thi s medium (d ig ita l v ideo) or space (You'Tube).
E ngaging with th ese ma te r ial s m igh t be considered cosm o po lita n , a nd it
indeed reaches across temporal a nd spatia l co m m u nit ies Facilirntecl by You
Tu be. II is im po rt aru to note that th ey a re repu rposed w it h in this new te rn
pond space and used/und erst ood d ifferen tly than Pasolin i init ia llv• v
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intention ed, perhaps with a wider net of implication . In the original Sa/,), the"very co nst ruct ion of t he Fi lm gives ris e to a terrifying w eb of comp licity
with the libert ines, a w eb that forces us to see ourse lves -and Pasolini -asamong the ir number" (Greene, 1994. in Pinar, 2009, p. 135). This w eb of
complicity crystall ize s when the clips are posted on You T ube and be comepart of a network where social roles a re increasing ly blurred. Placing thesefragments into th ese online so cia l networks and remix ing th em implicatesposters. v iew ers. and their networks in the horrifying story t hey te ll -or isit ho rrif)ring at all anymore? iviany of the remixes th at use fragments fromSa/,) lea ve out t he mo st horrifying moments. Removing these integ ral scenesstrips th e film of its intense crit iq ue of fas cism a nd soc ia l and political cod es
a nd convent io ns. so th at te chnologi cal neocapitali sm subsu mes th e initialcr it ica l meaning . The film fragments, then, a re Folded into dominant discourse and no longer represent cr it iq ue of soc ial and politica l codes andco nve ntions. historical or otherwise. And y et. it is this ve ry "mainstreamcom merc ia lity" that ha s "p roduced the possibi lity of participation in anon line video cu ltu re fo r a mu ch b roader range of participants th an before "
(Burgess & Green , 2009 , p. 76) .The pedagogica l implications of our immersion in a technological se nso r
ium of which YouTube is a part a re contrad ictory. YouTube provides spacefor tacti ca l e ngageme nt w ith soc ial and political conve ntio ns . \Vhen this engagement stret ch es across temporal and spatia l boundaries, it might well co nstitute cosmopolitan engagement with th e world . At the same tim e, itsa llowa nce for remix ing films like ~"'~zl6 without mandating e ngagement withhistorical moments. major films, and filmmake rs and thei r ties to contemporary society constitu tes technological neocapita lism in the lace of possibi lityFor cosmopolitan engageme nt. The public pedagogy manifested by socialnetworking spaces like YouTube has th e potential to playa ro le in fosteringed ucational engage me nt with major historica l events, people, periods. and a rt,including film, that link these moments to contemporary society, even as thiscosmopolita n possibility is easily subsumed by technologica l neo capitalism .
References
Burgess. ,J.. & Green , ,1. (2009) . }~1/I7 itl,c: Olililll' I'I,JCO till ,) ptl rlLi'iptl t ,'ry rulturc.
.\ \a lden : Polity .Ga rcia . D.. & Lovink , G . ( 1997). TI'l' f1 /~ (' oftartical mciha. Retrieved J anua ry 20.
20 11 from http://www.waag.orgltm nPinal'. \V. (2009) . Tl»: ll'or ltJlill t'.,., o/tlC""lIl op" l i ll/1i m.'1t1.'1t'lIl l'll l : Pa.oionatc lil 't'•• i llpl/Mli ·