Abstract

Pier Paolo Pasolini by the expression “Free Indirect Subjective” [soggettiva libera indiretta] coined the notion that reads all the cinematographic modernity not as a generic phenomenological revelation of reality, not even as an emergency of a mere metatextual dimension, but as the emergence of style as an index of reflexivity that frees form from any mimetic task. Liberation, however, that never comes to exclude the “productive” dimension of the formative act, the one that sets it in the character as the author’s intercessor, and from which descends anyway a narrative trace, albeit episodic or enigmatic.