Pier Paolo Pasolini’s lifework has been studied through the lens of queer studies, film studies, poetry, and many other angles, but there are themes that one could still study. This book aims to bring forth a new understanding of Pasolini as someone who worked in various arts, and through appropriating one art with. Max Ryynänen shows Pasolini’s importance for not just film and film theory, but more broadly visual studies, art research and even cultural philosophy – where Pasolini can be seen to be a real pioneer in discussing unprivileged margins in the society. Ryynänen reads Pasolini not just as a semiotician of film, but also as a cultural philosopher, and argues for that interpretation.