1. Pesaro festival of modern cinema (1965) The debate between Metz, Eco and Pasolini. Linguistics is the foundation of semiology. The image is not decomposable: there are no articulations "below" the level of the shot. Coding is a function of syntagmatic categories. Cinema semiology is on the level of poetics or rhetoric rather than a theory of the sign. A cinema semiology is best described in relation to narrative. Metz:from the point of view of the text; Eco : from the point of view of the interpreter or reader; Pasolini: from the point of view of the creator.

2. Pier Paolo Pasolini, “The Cinema of Poetry”

3. "A specific language of images would seem to be a pure and artificial abstraction.” (167) Signals or signs: "...there is a complex world of meaningful--both gestural and environmental--that accompany the lin-signs, and those proper to memory or dreams, both and all sorts of signs coming from the environment, which prefigure and offer themselves as the 'instrumental' premise of cinematic communication.” (168) Im-signs. The instrumental basis of cinema is an "irrational" type.

4. Pasolini, “The Cinema of Poetry” Im-signs. The instrumental basis of cinema is an "irrational" type. Rational-linguistic/irrational-prelinguistic. Both the physiognomic "language" of reality and the imagistic reality of dreams are pre-grammatical and premorphological (unformed). The components of the im-sign: objective signals linguistic signs + body/gesture [“kinemes”] im-signs, "the world of memory and dreams subjective

5. The cinema of poetry and free indirect discourse Types of cinematic discourse Naturalism. Indirect. Extracting images without quotation marks from a given historical and sociological milieu. Direct (subjective). Point of view shot.

6. The cinema of poetry and free indirect discourse Free indirect style Author adopts language and psychology of protagonist; author's language can always be differentiated from that of protagonist. The style of the "first person" who sees the world according to an essentially irrational inspiration. Adopting the point of view of a protagonist with access to the irrational and oneiric. Not only the search for prelinguistic or pregrammatical style, but also "narrational" pretexts, or cultural and revolutionary sources suppressed by bourgeois history and culture. "Obsessive" framing: the felt presence of the camera