A character acts on the screen, and is assumed to see the world in a certain way.

But simultaneously the camera sees him, and sees his world, from another point of view which thinks, reflects and transforms the viewpoint of the character. Pasolini says: the director has replaced wholesale the neurotics vision of the world by his own delirious vision of aestheticism. It is in fact a good thing that the character should be neurotic, to indicate more effectively the difficult birth of a subject into the world. But the camera does not simply give us the vision of character and of his world; it imposes another vision in which the first is transformed and reflected. This subdivision is what Pasolini calls a free indirect subjective . . . We are no longer faced with subjective or objective images; we are caught in a correlation between a perception-image and a camera consciousness which transforms it (the question of knowing whether the image was objective or subjective is no longer raised). It is a very special kind of cinema which has acquired a taste for making the camera felt.