Dig

Observations on the Long Take, Pier Paolo Pasolini (1967)
Translated by Norman MacAfee and Craig Owens

As long as such actions remain unrelated, be it the language of Kennedy’s last action or that of his assassins, they are fragmentary and incomplete languages, all but incomprehensible. What is needed to make them complete and comprehensible? The relationship which each of them, groping and stammering, seeks with the others must be established. Not through a simple multiplication of presents–as in the juxtaposition of various subjective views–but through their coordination. Unlike their juxtaposition, their coordination is not, in fact, limited to destroying and emptying the concept of the present (as in the hypothetical projection one after the other of the various films at FBI headquarters) but to rendering the present past.

Only completed acts may be coordinated among themselves and thus acquire meaning

[…]

The substance of cinema is therefore an endless long take, as is reality to our senses for as long as we are able to see and feel (a long take that ends with the end of our lives); and this long take is nothing but the reproduction of the language of reality. In other words it is the reproduction of the present.

But as soon as montage intervenes, when we pass from cinema to film (they are very different, just as langue is different from parole), the present becomes past: a past that, for cinematographic and not aesthetic reasons, is always in the present mode (that is, it is a historic present).

[…]

It is thus absolutely necessary to die, because while living we lack meaning, and the language of our lives (with which we express ourselves and to which we attribute the greatest importance) is untranslatable: a chaos of possibilities, a search for relations among discontinuous meanings. Death performs a lightning-quick montage on our lives; that is, it chooses our truly significant moments (no longer changeable by other possible contrary or incoherent moments) and places them in sequence, converting our present, which is infinite, unstable, and uncertain, and thus linguistically indescribable, into a clear, stable, certain, and thus linguistically describable past (precisely in the sphere of a general semiology). It is thanks to death that our lives become expressive.

Montage thus accomplishes for the material of film (constituted of fragments, the longest or the shortest, of as many long takes as there are subjectivities) what death accomplishes for life.

via Pasolini, P., 1967, Observations on the Long Take, in The Cinematic, D. Campany (ed.), 2007. London: Whitechapel and The MIT Press.