Seite - 90 - in JRFM - Journal Religion Film Media, Band 05/01

INTERTEXTUAL APPROACH The purpose of this article is to deconstruct Pasolini’s cinematic representa- tion to provide evidence of certain semiotic elements (signs) that carry specific meanings. The approach used here is that of Louis Hjelmslev’s “glossematics”,10 with its distinction regarding processes of signification. More specifically, this analysis aims to deconstruct the form of expression, starting with the narrative units; these units are not fragmented elements in a textual magma but instead are organized into distinct hierarchical levels of sequences, scenes and so on. Examining the pattern of expressive markers at these levels permits identifica- tion of logical and content-related connections that stretch beyond individual scenes. We are dealing here with two distinct representations of the Gospel. While Matthew’s text can be considered the “original” and Pasolini’s film just its rep- resentation, if we reason in semiotic terms we simply have two different types of “text”.11 In other words, if we assume that these collections of signs (verbal, iconic, auditory, etc.) have a multilevel narrative structure, both Matthew’s Gos- pel and the film can be defined as “representations”,12 in that they re-present the same content in a narrative.13 The intersection between multiple forms of representation in Pasolini’s films – which we define as intertextuality – is precisely what offers us the coor- dinates to pinpoint specific semiotic markers. Every film is conceived and real- ized to be seen by a viewer, with whom communication is established. Roman Jakobson has described the structure of this communicative interaction: the film constitutes the message transmitted by the addresser (the director Pasolini) to the addressee (the viewing public collectively).14 Physically, the communication occurs through auditory and visual channels, which Jakobson calls contacts.15 This article explores the semiotic value of the sound contact in Pasolini’s film. Music plays an important role in Pasolini’s cinematography, at one with the images and infused within them to introduce plays of meaning into the scenes. This is what Vittorelli calls “audio-visual syntax”.16 Il Vangelo secondo Matteo is no exception. Indeed, Pasolini took personal charge of the film’s soundtrack, assisted by the composer and musician Luis Bacalov. 10 Hjelmslev 1961. 11 Marsciani/Zinna 1991, 133. 12 Leone 2005, 351–353. 13 Having noted this common definition, for the sake of ease during the analysis we will talk of a “Gospel narrative” and a “film representation”. 14 Jakobson 1963, 185–190. 15 Jakobson 1963, 188. 16 Vittorelli 2007. 90 | Nicola Martellozzo www.jrfm.eu 2019, 5/1