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