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Even in Pasolini's cinema of poetry, as in Deleuze's crystalline regime10, “objective and subjective images lose their distinction, but also their identification, in favour of a new circuit where they are wholly replaced, or contaminate each other, or are decomposed and recomposed” (149). 10 Despite the manifest and recognizable closeness between Deleuze's and Pasolini's conceptions of ...
In this sense, I will attempt to reverse Deleuze's literary concepts of “description” “narration” and “story” in the cinematic “time-image” and Pasolini's “free indirect subjective”, and their reflections on subjectivity and objectivity by drawing a continuous trajectory that tries to express the cinematographic, in the ...
Deleuze establishes free indirect images as a technique of dual subjectification, as if this had been Volosinov’s claim, and then asserts that Pasolini took up this model. Deleuze explains that for Pasolini and SubStance #108, Vol. 34, no. 3, 2005 Free Indirect Discourse in Deleuze’s Cinema 125 Volosinov, free indirect discourse rather than ...
Semantic Scholar extracted view of "The Process of Subjectivation: Pasolini With Deleuze And Guattari" by G. Fadini. Skip to search form Skip to main content Skip to account menu. Semantic Scholar's Logo. Search 218,031,203 papers from all fields of science. Search.
Sin embargo, fue necesaria una década para que el pensamiento teórico y estético de Pasolini encontrara su dimensión filosófica en la noción, acuñada por Deleuze (1985), de imagen-tiempo. Según Deleuze el estatuto de este nuevo cine deja ver una imagen directa del tiempo independiente del movimiento.
And though often underappreciated, Pasolini’s impact on debates in semiotics and critical theory has been enormous, as seen clearly in the influence of his thought on Roland Barthes, Michel Foucault, Giorgio Agamben, and, perhaps most of all, Gilles Deleuze, whose philosophy of cinema was developed in dialogue with Pasolini’s writings on the “cinema of poetry.”
5 de mar. de 2022 · El libro Pasolini por Pasolini, que acaba de editar El cuenco de plata, con prólogo de Bernardo Bertolucci, no sólo es una prueba contundente de la capacidad de pensamiento de PPP sobre el cine ...
