FRAMING IN THE COMPOSITION AND MEANING STRUCTURE OF P. P. PASOLINI’S FILMS

Abstract

The purpose of the article is to reveal the functional connection with literature and the peculiarities of the use of framework constructions in the poetics of P.P. Pasolini’s films, as well as to outline their meaning-making potential. The structural-semiotic method is mainly used, which is the common basis of the exploration of the poetics of both literature and cinematography, because it actualizes the vision of film as a text, and cinematography as one of the many languages of art. As a result, the semantic activation of frame extratextual elements (titles, epigraphs and titles) in all of Pasolini’s films was revealed and their semantic load and role in creating paradigmatic, non-linear and close to poetic semantic structures was revealed. The semantic load of framing as a compositional principle in most of the artist’s films and the metaphorical, associativepoetic and suggestive meanings of the compositional framework construction of the “text within the text” in his films with a double chronotope (“Birds big and small”, “Oedipus the King”, “The Piglet”, “Salo, or 120 days of Sodom” are also analyzed). Special attention was paid to the function of the author-character in the creation of the frame composition of the films “Decameron”, “Flower of 1001 Nights”, “Oedipus the King”. Thanks to the fact that Pasolini himself played the role of the author in the mentioned films (or the high priest, who in a metaphorical sense is a substitute for the author in “Oedipus Rex”), this image acquires the characteristics of a lyrical hero and to a large extent realizes the poetic component of Pasolini’s individual poetics. Separately, on the material of the film “Gospel of Matthew”, the semantic potential and poetic features of such a purely cinematographic frame element as the frame are analyzed. As a result, a conclusion was made about the notnarrative, but associative-metaphorical and intellectual-analytical character of those artistic tasks that Pasolini solves with the help of all types of framing, which allows us to consider the frame constructions in his films as elements of an individual poetic film language, in accordance with that understanding of poetic cinema, which Pasolini proposed in his theoretical works, in particular, in the article “Poetic Cinema”.