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You are what you eat eats


Pasolini argued that cinema is like life, a chaos of possibilities, an infinite long-take which would not have a completed meaning if it were not for editing. Editing selects what is essential and transforms cinema into a film: “Editing is thus very similar to the choice which death makes of the acts of life, placing them outside of time” (HE, 250). While hardly a rigorous theory of cutting, this statement obtains, as usual, an intuitive, almost pedagogical, validity. Cutting interrupts the flow of a shot and declares, as it were, its death, its termination. Each cut give a temporal dimension to a shot and determines how long its life was. Each cut, then, demands that the spectator asses the meaning of a shot. Seen in this light, Pasolini’s editing style inseminated his films with countless little deaths and acted as a constraint invitation to “final judgments.”

Excerpt from:
A Certain Realism: Making Use of Pasolini’s Film Theory and Practice, by Maurizio Viano.