远在后殖民研究出现之前,帕索里尼的很多电影、诗歌及散文就专注于批判南北、东西、左右、主体性与他者性的传统二分法。他揭示了在认可模式基础上创造差异的困境,这种将自身主体视为思想中的否思已然存在纰漏。他主张另一种选择:对他者进行再思考,视其为抵制的一种形式(“一种新的人类学类型”),而对政治话语进行否思,则使那些已当权的人合法化。他的诗作和电影依然可以提供一种强有力的例证,即这种批判性的作品类型对于否思这种二分法使然的有害叙事而言是必需的。他还展示了电影何以成为一种将另类政治理论化的工具。帕索里尼认为,左翼的困境总是在于与执政党的对立,这种立场在冷战结束后显得越发问题重重。随着全球共产主义的瓦解和欧盟的出现,传统的欧洲社会主义和共产主义政党要么分裂、丧失政权,要么更加贴近新自由主义模式。应对全球政治的变革,左翼知识分子甚至对与劳工运动割裂的马克思主义和社会主义的前景提出质疑。国家社会主义的瓦解,使超验主体——作为被压迫历史主体的无产阶级,马克思主义知识分子曾以他们的名义代表他们说话——陷入危机。但是,对立政治并没有因被压迫政治主体的瓦解而消失。反对党只是分裂成一系列对立派别。帕索里尼视电影和诗歌为人们可用于解构右翼和传统左翼话语活动的同时揭露辩证法疯狂的唯一体裁。作者想说明的是,帕索里尼的电影不只是一种诗歌电影,而且是以另一种手段呈现的政治理论。 Long before the advent of postcolonial studies, many of Pasolini’s films, poems and essays focused on the traditional dichotomy of criticism of North-South, East-West, Left-Right, Subjectivity and Otherness. He reveals the dilemma of creating differences on the basis of the mode of accreditation, which is a flawed way of thinking of one’s own subject as the mindset of thought. He argues for another option: to rethink the other as a form of boycott (“a new type of anthropology”), and deny political discourse so that those who are already in power Legal person. His poetry and cinema still provide a powerful illustration that this critical genre of work is essential to deny the bizarre narrative. He also shows how cinema can become a tool to theorize alternative politics. Pasolini believes that the plight of the left is always opposed to the ruling party, which has become more and more problematic after the Cold War. With the collapse of global communism and the advent of the European Union, the traditional European socialist and communist parties split or lost power or moved closer to the neoliberal model. In response to global political changes, left-wing intellectuals even challenged the prospects of Marxism and socialism that were separated from the labor movement. The collapse of state socialism brought the transcendental subject, the proletariat oppressed as the historical subject, the Marxist intellectual who had represented them in their own name, into a crisis. However, opposition politics has not disappeared due to the collapse of oppressed political subjects. The opposition party has just split into a series of opposing factions. Pasolini treats movies and poetry as the only genre exposing the madness of dialectics while deconstructing right-wing and traditional left-wing discourse. The author would like to point out that the film of Pasolini is not just a poetic movie, but also a political theory presented by another means.