Pig
Related: Pornokrates (1879) - animal
Slaughtered Pig, 1563, Oil on oak, 114 x 83 cm (Wallraf-Richartz Museum, Cologne) - BEUCKELAER, Joachim (b. 1530, Antwerpen, d. 1574, Antwerpen)
Futz
Marilyn Roberts was in the original cast of 'Futz,' the Tom Horgan play about the man in love with a pig. It was kind of important In the 70s." -- Radley Metzger interviewed by Jay Kent Lorenz, Psychotronic Video No. 17, Winter 1994The theme of the slaughtered pig
The theme of the slaughtered pig and the tradition of the Netherlandish butchers' shop were probably established by Aertsen, who painted many such pictures. The genre continued until Rembrandt and beyond. It is also supposed to have a religious significance, as an allegory of the Crucifixion and the Eucharist, represented respectively by the pig in the foreground and the wine being brought from the cellar in the background. --via Web Gallery of Art
Porcile/Pigsty (1969) - Pasolini [...]
A bizarre but absorbing two-part parable which contrasts the saga of a medieval soldier-cannibal with that of the son of an industrial tycoon in post WWII Germany.
Julian (Jean-Pierre Leaud) is the son of German industrialist Klotz (Alberto Lionello) who seeks to go into business with the former Nazi Herdhitze (Ugo Tognazzi). Herdhitze had spent most of World War II collecting human skulls for experiments with brain matter. As a protest, Julian refuses to marry his fiancé from a pre-arranged marriage, and he becomes romantically involved with pigs. Part two finds a man driven to cannibalism by hunger while wandering Mount Etna. He scavenges the mountainside looking for any kind of sustenance. In both cases, humans revert to animal behavior when they are removed from the spectrum of social rules and opinions. - ForeignFilms.com
Of course, Porcile is infamous for its portrayal of cannibalism. But in fact this is presented (forgive the pun) in good taste. Pasolini goes to lengths to show, in the Wasteland section, that cannibalism is solely a matter of survival. But even as he downplays the titillation, Pasolini finds new dimensions to this theme. Take the scene of Clémenti's duel with a straggling (or is it deserting?) soldier. After scrambling over the desolate hills, they finally lock swords. When the soldier at last realizes that he has lost, he bows down, accepting his fate like prey awaiting the predator's coup de grace. But the ...filmmaker also infuses the scene, between these two attractive men, with a tender homoeroticism. Which is cut short when Clémenti whacks off the soldier's head and then, well, you know what's for lunch.--jimwriter, amazon.com
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