Abstract

The full significance of phenomenological experience was one of Pasolini's favourite subjects, declined in terms of 'Reality as Language'. Another semiotic theme of Pasolini as a cinema theorist, was the idea of individual existence as a sequence shot, to which the editing operation constituted by death gives order and sense. The article, based onFabbri, Peirce and Ricœur, suggests an interpretation of that idea, in the direction of the narrative constitution of personal identity – as an effect of final subjectivity.