In most of his films, Pier Paolo Pasolini uses a shaky hand-held camera almost constantly, though it is not needed on most occasions. Can anybody clarify why he preferred to use this technique?
Like Bernardo Bertolucci, Pasolini began under the influence of classic Italian neorealism. Pasolini’s first film, Accattone (1961) – often cited as the last neorealist film – returns to the petty criminal underworld of the Roman ‘borgate’ (suburbs) that he explored in his previous novels. However, despite sharing certain superficial similarities with classical neorealism (such as non-professional actors, on-location shooting and handheld camerawork), Pasolini found a squalid lyricism that celebrated the radical opposition of the criminal sub-proletariat to the growing culture of mass media and material living.