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Fri, 13 Aug 1999 10:51:47 +0100 |
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Thank you, I was beginning to think I had seen a different film to everyone
else.
Leopold
-----Original Message-----
From: Jumping [mailto:[log in to unmask]]
Sent: 13 August 1999 10:46
To: [log in to unmask]
Subject: Re: Pound and Passolini
Pasolini's "Salò" nothing have to do with Fascism.
Fabio Franceschini
CCU Eruditio
Università degli Studi di Trento
http://student.gelso.unitn.it/~eruditio
At 22.30 11/08/99 -0400, you wrote:
>Leopold Green <[log in to unmask]> wrote:
>
>>the films backdrop...art like anything else is a
commodity, which makes
>>sense given that the film seems to say, to me at least,
that capitalism has
>>no 'victims' or 'innocents' since we are all complicit in
our
>>acquiescence...we quite literally will eat shit, or pay to
watch a film we
>>people eat shit.
>>
>
>I feel compelled to point out, in the interest of film
chronology,
>that the great Baltimore film director John Waters was a
few
>years ahead of Pier Paolo with this significant insight.
>
>cf. Waters' "Pink Flamingos," 1971,
>and Pasolini's "Salo," 1975.
>
>What's more, I think there is a very complex statement
about
>fascism and commodity culture going on in Waters' film as
>well, specifically in the sequence containing the infamous
>'singing asshole' scene. But I've never felt confident
enough
>in my own critical prowess to even attempt to sort it all
out.
>
>
>--
>Brett Zombro
>[log in to unmask]
>
>"As a rule, I make an effort never to utter [ the word
'Art' ]
> except when referring to Mr. Linkletter."
> --John Waters
>
>
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