Search

This article focuses on a few recent publications, all of them devoted to a new semiotic intepretation of Pasolini's theoretical works on cinema. It provides a short summary of the ancient debate between Pasolini and semioticians, then offering an overview of those recent publications. Later, it discusses the indications we can draw from them about the state of art of semiotics, in order to put the basis for future researches even despite the epistemological different positions. The article is a preliminary work that places itsef within a wider attempt to apply Pasolini's theoretical contributions, re-read from today's semiotic point of view, to digital cinema.