Sam Rohdie
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Pier Paolo Pasolini
in Montage
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Pier Paolo Pasolini's film theory is a sustained opposition to what he called naturalism, a phenomenon that he principally identified with Italian neo-realism. His theory was based on, in his own words, a heretical understanding of semiotics. The notion and practices of the shot sequence were crucial for Pasolini's formulations. The shot sequence, likened to the infinitude of reality needed to be ruptured in order to make reality significant, to make it conscious, to articulate it. The shot sequence as practised in actual films, in the concrete utterances of cinema, is never infinite but part of a system of differential shots. Articulation could only be achieved by montage, by a cutting into the undifferentiated cinema that he likened, not only to reality, but to an infinite shot sequence, a metaphor for the filmic writing of reality.

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