Pasolini's Cinema of Regression

Abstract

Pasolini 's Pier Paolo Pasolini's Cinema of Regression most famous piece of film theory is The Cinema made of Poetry (1965), in which he revives (consciously?) a distinction almost forty years earlier by Viktor Shklovsky between a prosaic cinema and its a poetic one. According to Shklovsky, [in] semantic composition, a prose work is its plot construction, based primarily on a combina- tion of everyday situations, while in a poetic film the technical- formal features predominate over the semantic features. ^ Similarly, Pasolini defines the which is cinema of prose as the cinema of classical narrative, based on a repression of the cinema's poetic qualities. With the establishment of the conventions of the cinematic prose narrative, the cinema's irrational, oneiric, elementary, and barbarie elements were forced below the level of consciousness. ^ cinema with dreams and memory because both on the signification of images. This identification places the poetic cinema closer to the primary process than the cinema of prose. Plot becomes a form of secondary revision, turning cinema into a gente of escapist performance, with a number of consumers unimaginable for ali other forms of expression. ^ Thus the cinema of the prose narrative is a deformation of the true cinema, the cinema of poetry, a deformation caused by the consumerism that Pasolini saw ali around him and which he hated for its ability to degrade everything it touched. However, just as psychic repression never destroys the Pasolini identifies are based repressed content, so too the fundamentally irrational nature of cinema cannot be eliminated. ^ Pasolini finds moments of poetry even