Pasolini was a heretical director in Italy and a film theorist. His paper The Cinema of Poetry laid the early foundation for semiotics of cinema and became a classical document in semiotics of cinema and even aesthetics of western movie, which re-sulted in establishing his leading position in the history of Western film theories. However, owing to the insufficient procedure interpretation, obscure and contradictory expression of the language, his doctrine in semiotics of cinema failed to be explicated systematically, thus ignored by the contemporary theorists. The true value of revisiting Pasolini's semiotics of cinema lies on the linguistic philosophy rather than the meaning of practical guidance. According to Pasolini, the movie can be interpreted as the presentation of the free indirect subjectivity, which embodies the practical materialism of Marxism and the focus on the class na-ture between the director and the role.%帕索里尼不但是一位异端的意大利导演,还是一位电影理论家. 其论文《诗的电影》奠定了电影符号学的先期基础,成为电影符号学乃至电影美学的经典文献,确立了他在西方电影理论史上的地位. 但他的电影符号学论文不太在意过程化的详细阐说,语言晦涩矛盾,使得其电影符号学说无法被系统阐发,因而被同时代的批评家所轻视. 现在重新审视帕索里尼的电影符号学,其真正价值不在于实践指导上,而在于它的语言哲学层面上. 帕索里尼把电影阐释为"自由间接主体性"的"流述",蕴含了马克思的"实践唯物主义"思想,强调了导演与角色之间的阶级性.
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