在1960年的夏天，让·鲁什创作了电影史上第一部真理电影《夏日纪事》，以一种介入和干预的纪实手法为特色。1963年，意大利的第一部真理电影《爱的集会》诞生了，导演帕索里尼拿起手中的摄影机去询问意大利人们的性观念，试图揭示战后经济奇迹背后真实的意大利。1965年，帕索里尼在彼萨罗第一届新电影节上宣读了《诗的电影》一文，正式提出了电影诗性论。作为意大利第一部真理电影和帕索里尼现实主义创作时期的最后一部影片，《爱的集会》受到真理电影和诗性电影理念双重影响，并在这些影响下进行了实践。
本文探讨了《爱的集会》中诗性电影论与真理电影之间的碰撞，探讨真理电影的诗性美学。帕索里尼作为一位诗人出身的电影制作人，将电影视为一种书写现实的语言，其对现实的追求促使他创作了一部捕捉到20世纪60年代意大利真实精髓的电影。本文运用四个章节对《爱的集会》进行梳理。
第一章梳理帕索里尼的生平经历、创作经历和电影理论，并以影片中涉及到的社会话题为依据，从意大利经济奇迹之后的经济危机、南北发展差异和《梅林法案》的实施这三个方面探讨影片背后社会环境的影响。第二章通过梳理帕索里尼从诗人到电影诗人的身份转变，发现对现实的追求引导他从文学走向电影，这正是电影诗性论和真理电影碰撞的基础。他将电影视为书写现实的语言，电影用影像和声音再现了现实，电影用现实表达现实。“书写现实”的愿望促使帕索里尼创作了《爱的集会》，实现电影诗性论和真理电影的碰撞。第三章从社会声音的客观呈现和导演意识的主观表达两个方面分析《爱的集会》中诗性真理的双重纪录，并将其和《夏日纪事》进行对比分析。发现在电影诗性观念的影响下，《爱的集会》更大篇幅运用了街头采访，几乎没有观察式的长镜头，并且用旁白、对话等形式在片中表达导演观念。第四章探讨《爱的集会》从假借性和差异性两个方面分析自由间接话语的运用，以及它对观众和拍摄对象的影响，从观众和被摄者两个角度分析让人察觉到的摄影机。进一步证实本片符合帕索里尼电影诗性观念的同时，阐释真理电影与电影诗性论纪录方法的契合之处。
《爱的集会》是在电影诗性论和真理电影理念双重影响下的集合产物，诗性电影的理念促使帕索里尼将真理电影的参与式纪录方法推向新的高度，为我们观察和思考故事片和纪录片的关系提供了一个窗口。本文以具体文本为支撑，深入分析帕索里尼的电影理论和创作手法，旨在探索电影诗性论在真理电影中的实践应用，补充帕索里尼真理电影相关研究，拓展纪录片的美学研究，并启发人们进一步探索电影中虚构与现实的关系。

In the summer of 1960, Jean Rouch created the first true documentary film in film history, "Chronicle of a Summer," characterized by an interventionist and interventionist documentary style. In 1963, Italy's first true documentary film "Love Meeting" (Comizi d'amore) was born. Director Pasolini picked up his camera to ask Italians about their views on sex, attempting to reveal the true Italy behind the post-war economic miracle. In 1965, Pasolini read "The Cinema of Poetry" at the first new film festival in Pisa, officially proposing the theory of poetic cinema. As the first true documentary film in Italy and the last film of Pasolini's realist period, "The Meeting of Love" was influenced by both the ideas of cinema verite and poetic cinema, and was practiced under these influences.
This article explores the collision between the poetic film theory and the  cinema verite aspect of Pasolini's cinema in his film "Love Meetings", and delves into the poetic aesthetics of cinema verite. As a filmmaker with a poetic background, Pasolini regarded cinema as a language for depicting reality, and his pursuit of reality led him to create a film that captured the essence of Italy in the 1960s. This article is organized into four chapters to analyze "Love Meetings".
In Chapter One, Pasolini's life experiences, creative process, and film theory are examined, with a focus on the social topics addressed in the film, including the economic crisis after the Italian economic miracle, the north-south development gap, and the implementation of the Merlin Law, in order to explore the impact of the social environment behind the film. 
Chapter Two examines Pasolini's transition from poet to cinematic poet, and how his pursuit of reality led him from literature to film, providing the foundation for the collision between poetic film theory and the concept of truth in cinema. He viewed film as the language of
 writing reality, with the medium using image and sound to recreate reality and express reality. The desire to "write reality" inspired Pasolini to create "Love Meetings," which realized the collision between poetic film theory and cinema verite. 
Chapter Three analyzes the dual recording of poetic truth in "Love Meetings" from the objective presentation of social voices and the subjective expression of the director's consciousness, and compares it with "Chronicle of a Summer." It is found that under the influence of poetic film theory, "Love Meetings" makes greater use of street interviews and has almost no observational long shots, using techniques such as voice-over and dialogue to express the director's perspective. 
Chapter Four explores the use of free indirect discourse in "Love Meetings" from the perspective of false attribution and difference, as well as its impact on the audience and the subjects being filmed, analyzing the presence of the camera from the perspectives of the audience and the filmed. This further confirms the film's adherence to Pasolini's poetic film theory, while also explaining the compatibility between poetic film theory and cinema verite. 
The film "Love Meetings" is a product of the dual influence of poetic film theory and the concept of truth in film. The idea of poetic film prompted Pasolini to push the participatory documentary methods of truth in film to new heights, providing a window for us to observe and reflect on the relationship between fiction films and documentaries. This article provides an in-depth analysis of Pasolini's film theory and creative techniques with specific textual support, aiming to explore the practical application of poetic film theory in truth in film, supplement Pasolini's research on truth in film, expand the aesthetic research of documentaries, and inspire further exploration of the relationship between fiction and reality in film.