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
>
>