Pasolini Salò makes or the 120 Days of Sodom in 1975, based on the novel of the Marquis de Sade. The film exposes the sexual abuse that are inflicting four dignitaries of the IHR [1] - designated by the title "Sir", "Duke," "Excellence" and "President" - to young men abducted then sequestered in a villa. Salò is primarily a film event. Pasolini's last film causes an earthquake media well known. The press and general rages [2] , while the National Association of morality enters the Italian courts to prevent the showing of the work. Today, the dust raised by the battle died down. One can therefore wonder, with all the necessary perspective on the historical interest of this film sulfur which repels the "limit-experience" of cinema [3] . The relationship between the viewer and the film process is directly questioned by Pasolini. Given the lethargy caused by the hypnotic effect of images, how to react to the public without the allure? The filmmaker chooses a film language to the limit of the unbearable, thus eradicating any possibility of taking pleasure [4] . Fascism as a body-machine
Pasolini does not explain the origin or evolution of the last phase of Italian fascism. Its purpose is different and shows that all power is a power struggle between anarchy prevailing body and body dominated [5] . The film thus goes beyond the historical phenomenon of fascism [6] , to anchor it in a more comprehensive design Pasolini, the domination of the bourgeoisie over the proletariat [7] .
The structure of the film in four episodes (see diagram above) - a "Antinferno" precedes the "Girona delle mania ',' della merda" and "del sangue" - refers to that Dante's Inferno [8] . Each episode could well symbolize a cog in the machine disciplinary Salò allegory of fascist power, whose only objective is to crush the body dominated [9] . "The Antinferno" replaces the prologue of the book of Sade. It outlines the motivations of four dignitaries, the roundup of young people, the strict selection of victims, and finally deportation. Duke, contrary to the character of Virgil in The Divine Comedy, only offers no hope of salvation. The individuals chosen once inside the machine, can not get out. We learn only at the end of the film, the few survivors were sent to Salò - space destruction probably worse than previous - likened to Dante last visit before leaving the underworld, ruled by the King of Shadows, "The creature that was once so beautiful," in the words of the poet. "The Emperor of the kingdom of pain came out of the ice until the middle of the chest, and I would rather match the size of a giant, that quite like a giant in his arms now see what should be the corresponding to any such party. If he was as beautiful as it is hideous now, and if it dared to raise his forehead against his creator, it's good that it should proceed any pain " [10] . Salò, Pasolini's film, is where the substance of pain takes its purest form. Salò is the origin of evil.
bodies penetrate into the limbo of disciplinary power. The town where the torture perpetrated by the fascists reflects the fortress of Silling 120 Days of Sodom : "Here you are off limits legally. Nobody on earth knows that you're here. To the world you're already dead. " For Barth, the fence has a Sade dual function: it allows to isolate the characters in lust and then found a autarky Name: "Once locked, the libertines, their helpers and their subjects form a complete society, provided with an economic, moral, a speech and a time schedule articulated in the work and holidays. (...) This is the fence that allows the system that is to say, the imagination " [11] . The villa is a microcosm where the protagonists drink, eat, defecate, sleep and have sex. The machine also has a manual that explains how it works. This is the regulation set out by Duke, which has its corollary: the book, in which faults prisoners are carefully noted - sort of book handling within the system malfunctions.
The "circle of manias" has different sexual experiences (about masturbation and sodomy), at the end of which the prisoners are reduced to the status of pets. They walk on all fours, bark, eat in bowls placed on the ground, are caressed or whipped by their masters. Manages to bend the power of humanity bodies. Man becomes a beast and return to a primitive state. The trend is reversed. In the "circle of shit", coprophilia is presented as the most delicate delight. The torturers and their victims enjoyed strings of feces at a banquet in honor of His Excellency. The waste produced is reabsorbed, thus demonstrating the circularity of aberrant consumer society. The "circle of blood" refers more directly to the work of Dante. The tortured ends up in the ninth and final circle of hell, the traitors. Those who have departed from the law are punished. They are placed in a vat of excrement - grotesque distortion of the lake ice of The Divine Comedy, where traitors are immersed. The sequence of executions can again express the circular movement of power. Serge Daney: "When at the end of the film, watch the masters of torture through binoculars, they were still in their visual field to another master. Control sees that mastering " [12] . The field and the reverse link the executioners and voyeurs in a single full and active (self) destructive.
Pasolini fascism also reduces the expression of a desire destroyed. Debauchery repeating four protagonists have exhausted their vitality - "the energy expenditure of sex is a death march" as indicated Joel Magny [13] . The vision of the body, half naked, not enough to provoke their excitation sexual. They therefore call for the involvement of three former prostitutes, who each in turn tell stories erotic awakening in them a desire tariff. The first narrator, for example, recounts an experience with a teacher. His Excellency interrupted and asked him to spare no detail. "This is the only way we can learn from your stories essential elements of excitement we expect from you" . He wants to know the size of the penis of the teacher, the type of ejaculation, if the narrator has touched his genitals or if he forced to take them in his hand. Meanwhile, Monsignor requires one of the boys to follow him into an adjoining room. A few minutes later, the protagonist returns and complains of the attitude of his partner. The Duke offered him to take another. The protagonist refuses: "Efforts to meet me now would be enormous and far beyond truly venial sins he had enough before. And you know very well what drives a desire that remains frustrated ".
Narratives and sexual experiments delineate a line, new boundary as the characters try to push constantly, where does their desire to die. The spiral of perversion is seen as a necessity [14] . It is at the forefront of suffering, still higher and unsustainable that the dignitaries have their fun. This research extreme enjoyment would be impossible if the four protagonists were not pivotal for the fascist regime (they are the nobility, the church, judiciary and finance). Everyone seems to play a special role: for example, Duke is responsible for coordinating the festivities, while Bishop is the master various ceremonial rituals.
However, the specifications do not meet an absolute. The dignitaries of sexual preferences and fantasies of individuals they enjoy sharing them. The pleasure can be exchanged, as power is redistributed by the dominant body. These are interchangeable, like bodies dominated. Power is not affected when it passes from the hands of the judiciary than the religious institution. The fascists in their statements underlined: "Our choice is that structure. We must make our enjoyment in a unique gesture ". Power is unchanging whatever its form. The act of coercion, if it is unique, also carried on a single body. The victims are no longer considered as individual entities but as a mass of flesh informs. The body no longer exists. It is exactly the same cell to other cells that make up the whole. And that's where Pasolini evokes better the nature of Nazi-fascist Salo, another monstrous fusion model. Totalitarianism Hitler dreamed of abolishing the individual to produce "man-generic" [15] . The filmmaker is to share the dream of the fascist Italian Social Republic. The uniformity of the total body governed is what connects to Pasolini, Salò and the fantasies of those in the Third Reich. The selection of the beginning of the film - which is not on racial but on aesthetic criteria - expresses very well the idea of Nazification of fascism in the last hour.
power in Salò or the 120 Days of Sodom is disgusting because it originates in sad affects. Pleasure, in other words the power is procured through the misery and suffering. VIPs enjoy watching the militia prisoners, in their turn become objects of enjoyment, but never enjoy themselves. The power is thereby reversed and becomes powerless. The four fascists evoke in a dialogue, the Nietzschean superman. This is actually a Freudian slip. This reference shows a bad reading - that practiced at the time the Nazis - the author of Zarathustra . The Nietzschean superman is one who manages to overcome nihilism. It is not the champion who crushes the weak and submits others to his will. It is that which frees man in embodying the values that affirm life. So the opposite of the characters, which correspond to rather superman Sade. For Blanchot, the man promoted by the Divine Marquis is the symbol of negation: "The whole man, entirely assertive, is also completely destroyed. He is a man of passions and he is insensitive. He began by destroying himself, as man and as God, then as nature, and thus he became the One. Now he can do anything, because the denial in him came to the end of all " [16] . Also, the plot sado-Pasolinian Is it possible that in a world where God is dead [17] . Pasolini shows what is possible to subject the man when the man Sade, having renounced his divine hand and its human dimension, becomes his only object of desire. The teacher looks at the other master, as Serge Daney says, because he himself wants it - the other being a simple avatar of the same, also exerting power. The Republic of Salò, according to Pasolini, is a great gulf that sucks the life. "Before the One, all beings are equal in nullity, and the One, by reducing them to nothing, only makes clear that nil [18] .
Eros as a mirror of fascist power and sexuality in the West
Critics and authors of the period often deny the historical film [19] . Italo Calvino for "The horror of this past Italian concrete experience, can not be used as background in the representation of a highly symbolic horror, fantasy, constantly-ing out of verisimilitude: the horror Sade (...) C ' is with regret that I found on a road sign taken by the camera, the name of Marzabotto [20] , the village was truly a horrible carnage took place. Evoking the Nazi occupation and can only wake up one type of emotions entirely contrary to the paradoxical and glacial Sade ruthlessness that poses as the first rule, as well as his readers his characters' [21] . Jean Cherish says "Sade's work is a fantasy projection. It is the cry of a prisoner, a walled living with no other outlet for that crime writing. Assimilation also made by Pasolini between libertines Castle Silling and executioners fascist "Salo", seems purely gratuitous " [22] . According to Michel Foucault's thought Sade associate fascism, as in Salò or Night Porter, falls for other reasons, a historical mistake Total: "Nazism was not invented by the great erotic madmen of the twentieth century, but by small bourgeois the most sinister, boring, disgusting imaginable. Himmler was vaguely agronomist, and he married a nurse. Understand that the concentration camps were born from the imagination of a joint hospital said nurse and a chicken farmer. Hospital lower-court: that the fantasy was behind the concentration camps " [23] .
But Pasolini is not saying that fascism is a history of sexual dysfunction. Salò is an allegory of fascism [24] : exposure of inhumane abuse reflects the share of power that individuals exert on the fascists. The prisoners, mostly meekly let themselves also dominate - "These people are dying because they have sacrificed their bodies no longer entirely theirs" [25] . Their passivity in the face the barbarism of the four fascists is presented as a form of "collaboration": The victims sometimes denounce them to curry favor with their tormentors. The power is distributed at all levels. Everyone has a little secret that can bring down another. Self-monitoring bodies dominated testament to the good functioning of the machine.
Pasolini also invents fictional events, rituals monster whose only value is symbolic. To the knowledge of historians, the sexual tortures described were never committed by the fascists [26] . However, the town of Marzabotto, wherein lies the film's action, was the scene of a massacre perpetrated by the real Nazis, as stated by Calvino. Pasolini has interpreted this bloody and reformulates the guise of another tragedy, the young martyrs enslaved by people completely amoral. For us, this transformation reflects the obscenity imaginary Nazi-fascist.
Moreover, the principal focus of historiographical Salò is through voluntary anachronism. In an enlightened discussion, the four main protagonists of later authors cite the events mentioned. According to Lisa El Ghaoui, "With the list of authors cited in the opening of his film (Barthes, Blanchot, De Beauvoir, Klossowski, Sollers and more specifically their writings on Sade) Pasolini gives his work a scientific, literary and educational . It is an object of study, knowledge, investigations on the malaise and corruption that characterize modern man. He updates the work of Sade in the writings of these authors' [27] . Pasolini, having inspired their work to make the movie, does not hesitate to make clear in the dialogues. The anachronism recalls in this case the character of contemporary historical writing. Pasolini probably Klossowski borrows the idea that the ritual of eros is fundamental in the literature of Sade, where the succession of transgressions "is repeated mostly by the same act" [28] . The abuse is repeated endlessly on the screen. Plans eventually by all look alike and do so only "one". This is the challenge of Pasolini give the film a form in perfect harmony with the principle of "One", developed by Blanchot. For the director, "it follows that the sodomite gesture is the most typical of all because it is the most useless, the one that best summarizes the reproducibility of the act, because it is decidedly more mechanical" [29] .
The film finally asked our modes of representation and reception of sexuality. According to Pasolini, Salò is a metaphor for the situation that the company experienced in the seventies, where sex is seen as "obligation and ugliness" [30] . Standardized while supposedly liberated sexual practice is invested and operated by power. Speech and gesture erotic sadly lost their spontaneity by becoming mere objects of consumption. The historical fascism died in 1945, after the final defeat of the Axis. But authors such as Pasolini, substance fascist - you could say the substance Nazi-fascist - has not removed from the material that makes up contemporary societies. Instead, she turned and reinvested the economic field by adopting a new face, that of consumerism.
director denounces this new form of fascism in evoking the erotic sex without ever [31] . Eros is indeed completely absent. The viewer feels that the disgust at this profusion of masturbation, penetration, speeches and sadistic acts. In this sense, Salò is a statement of war on society of mass consumption through the release of the sex industry. The film is therefore the opposite of pornographic movies. Porn has no continuity, because it belongs to the circuits of production and consumption fast. It seeks to provide instant enjoyment of the viewer, and thus responds to expectations of highly codified. The porn movies endlessly repeating the same patterns of representation. This sexuality mechanical, without surprise, without creativity, reflects in our societies of the reign of a certain imaginary poverty. Salò evokes this disenchantment, that replicates the body on sexuality constantly exhibited and commodified. Jean Delmas said that, for Pasolini, sex shows "what Marx called the commodification of humans:" the reduction of the body to the state of affairs (through exploitation) "" [32] . He remains in Salò or the 120 Days of Sodom that raised fist by one of the prisoners, just before being executed for daring to make love with a black servant. Ultimate act of resistance - sexual pleasure, in this case affirms life - face the killing machine of fascism [33] .
Aurélien Portelli
________________
[1] Mussolini was deposed in 1943. Badoglio formed a government and non-fascist sign the armistice with the Allies. The Germans then decided to occupy Rome, forcing Badoglio and the royal family to flee to southern Italy. Hitler confided to Mussolini's leadership of a new puppet government, and founded the town of Salò Republic Italian Social.
[2] Read about this excellent article by Andre Habib, "Note on a reception impossible. "Salò" and "La grande bouffe", "in Off-field, in January 2001.
[3] Indeed, surgical coldness plans and realism of the images lead the viewer on an area that the cameras had not yet explored.
[4] It also, says Gary Indiana, which differs notably Pasolini de Sade (cf. G. INDIANIA, Salo Or The 120 Days of Sodom London, British Film Institute Publishing, 2000, p. 95).
[5] For Pasolini, "There never was a power in Europe as anarchic as that of the Republic of Salò: it was the excesses of government made more shabby. (...) In addition to being anarchic, which characterizes the best power - any power - is his natural ability to transform bodies into things. In this too Nazi-fascist repression was master "(cf. JA Gili, Italian cinema, op. Cit.).
[6] According Barthes: "If all the same, in terms of emotions, there was Sade in fascism (something trivial), and more if there was fascism in Sade? Fascism is not to say fascism. There is the "system-fascism" and there is the "substance-fascism." Both the system requires an accurate analysis, rational discrimination, which is prohibited from dealing in any oppression, fascism, as the substance can move around. (...) "(See Roland Barthes," Sade-Pasolini ", in Le Monde, June 15, 1976). For Barthes, it is this substance that Salò awakens from a political analogy (although the author does not consider satisfactory transposition of Pasolini).
[7] Pasolini's work is entirely devoted to the "resistance." His appointment was intended as a sort of declaration of war against the bourgeoisie, whose scathing, dismissing the vulgarity of his legal control, financial and media.
[8] The main contribution of this scenario Pasolini "was to give him a character structure that Dante probably was already in the idea of Sade, that I divided the script in circles, I got her This kind of verticality and order character of Dante "(cf. N. Naldini, Pier Paolo Pasolini, Paris, Gallimard, Biographies, 1991, p. 416).
[9] As Lisa said El Ghaoui, "The body is seen as a capitalist product that is consumed and thrown away when no longer used" (cf. L. El Ghaoui, Languages of desire and metamorphoses of the body in the work of Pier Paolo Pasolini, Ph.D. Thesis, University of Grenoble III Discipline: Italian Language and Literature, November 25, 2006, p. 553).
[10] DANTE The Divine Comedy (vocals thirty-fourth), Paris, Editions LIDIS, 1982, 194 p.
[11] R. Barthes, "The tree of crime", in As Is (The thought of Sade), No. 28, Winter 1967, p. 95, pp. 23-37.
[12] S. DANEY, "Note on" Salò "," in Cahiers du cinema, No. 268-269, July-August 1976, p. 103.
[13] J. MAGNY, "A Liturgy of nothingness and horror", in M. ESTEVE (presented by), Studies in Film: Pasolini. A cinema of poetry, No. 112-114, 1977, p. 194-195.
[14] According Michael Brix, "libertines inevitably happen one day or another, want to wake up their imagination to breathe by removing the ban major Thou shalt not kill. Crime will provide them, they hope, the pleasure they find more in the sexual act itself "(cf. M. BRIX," The Hundred and Twenty Days of Sodom libertine utopia "of the text lecture given at the Congress Sade, College of Charleston, South Carolina, March 13, 2003).
[15] " There in the speech and fascist National Socialist obsession constantly and loudly displayed reshape the social and radically transform not only the relations between classes, but the man himself, as a product of history and a culture which repudiate the legacy of fascism "(cf. P. Milz, The Fascism, op. cit., p. 304).
[16] M. Blanchot, "Sade's Reason," in Lautreamont and Sade, Paris, Les Editions de Minuit, 1963, 380 p., pp. 15-49.
[17] For Gilles Deleuze, "Nietzsche was disfigured when the thinker is in fact the death of God. Feuerbach is the last thinker of the death of God: it shows that God has never been the unfolding of man is an old story. But what interests Nietzsche's death of man. As God exists, that is to say as the God-form works, man does not exist yet. But when the shape-Man appears, she does that already include the death of the man, at least three ways. On the one hand, where man could he find the guarantor of identity, in the absence of God? On the other hand, the form-Man did constituted itself in the folds of finitude: it puts in man's death. Finally finiteness forces themselves are that man exists only through the dissemination of organizational plans of life, the disappearance of languages, differing modes of production, which implies that the only "critical knowledge "is an" ontology of the annihilation of beings'. " (See G. Deleuze, Foucault, Paris, Les Editions de Minuit, Collection "Critique", 1986, 141 p., pp. 131-141).
[18] Cf M. Blanchot, "Sade's Reason," in Lautreamont and Sade, op. cit.
[19] Those who defend the film historically are not legion. Included among them Andre Cornand: "This monstrous sadist, this unlimited power and anarchic masters Silling found its equivalent in the Nazi-Fascist Republic of Salò. This is the historical referent of the film and the movement is justified "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in The Journal of Cinema, No. 302, January 1976, p. 98).
[20] The SS had indeed massacred at Marzabotto and surrounding area, nearly one thousand victims between September 29 and October 5, 1944.
[21] I. Calvino, "Sade is in us," in Cahiers du cinema, No. 421, June 1989, pp. 56-57 (originally published in the Corriere della Sera, December 1975).
[22] JA CHER, "Salò or the 120 Days of Sodom," in Screen, No. 49, July 15, 1976, p. 49.
[23] FOUCAULT (interview with G. DUPONT), "Sade, Sergeant of Sex", op. cit., pp. 3-5.
[24] For Pasolini, allegory is "a work which means everything else thing refers to another reality "(cf. J. DUFLOT, Pasolini, Paris, Editions Pierre Belfond, 1970, 175 p.)
[25] Cf M. Boyer, M. Tinel, The films of Pier Paolo Pasolini, Paris, Dark Star, 2002, 239 p.
[26] According to Pasolini, "Practical reason says that during the Republic of Salò was very easy and" in air time "to organize what has been organized Sade's heroes: great orgy in a town controlled by the SS "(see JA Gili, Italian cinema, op. cit.).
[27] L. EL Ghaoui, Languages of desire and metamorphoses of the body in the work of Pier Paolo Pasolini, op. cit., pp. 549-550.
[28] P. Klossowski, "Sade and the philosopher villain," in As Is (The thought of Sade), op. cit., pp. 3-22.
[29] See N. Naldini, Pier Paolo Pasolini, op. cit.
[30] See N. Naldini, Pier Paolo Pasolini, op. cit.
[31] Pasolini also think that his films are never erotic: "maybe because I'm disabled and I do not know represent eroticism as eroticism. Eros, in my movies is always a relationship drama, metaphorical "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in Film Review, op. Cit., P. 101).
[32] J. DELMAS, "Salò or the 120 Days of Sodom," in Jeune Cinema, No. 92, January-February 1976, p. 8.
[33] Andre Cornand also seen in the last sequence, another form of resistance: "The latest images show two young men dancing together while listening to the radio. Several interpretations are possible. Probably conscripted, they await news of the "Liberation" close. Read in 1975 "liberation" of bourgeois power. Anyway, their dance "homosexual" is a sign of claim Pasolinian which is itself only a metaphor for the uprising against the repressive forces "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in Film Review, op. cit., p. 101).
[2] Read about this excellent article by Andre Habib, "Note on a reception impossible. "Salò" and "La grande bouffe", "in Off-field, in January 2001.
[3] Indeed, surgical coldness plans and realism of the images lead the viewer on an area that the cameras had not yet explored.
[4] It also, says Gary Indiana, which differs notably Pasolini de Sade (cf. G. INDIANIA, Salo Or The 120 Days of Sodom London, British Film Institute Publishing, 2000, p. 95).
[5] For Pasolini, "There never was a power in Europe as anarchic as that of the Republic of Salò: it was the excesses of government made more shabby. (...) In addition to being anarchic, which characterizes the best power - any power - is his natural ability to transform bodies into things. In this too Nazi-fascist repression was master "(cf. JA Gili, Italian cinema, op. Cit.).
[6] According Barthes: "If all the same, in terms of emotions, there was Sade in fascism (something trivial), and more if there was fascism in Sade? Fascism is not to say fascism. There is the "system-fascism" and there is the "substance-fascism." Both the system requires an accurate analysis, rational discrimination, which is prohibited from dealing in any oppression, fascism, as the substance can move around. (...) "(See Roland Barthes," Sade-Pasolini ", in Le Monde, June 15, 1976). For Barthes, it is this substance that Salò awakens from a political analogy (although the author does not consider satisfactory transposition of Pasolini).
[7] Pasolini's work is entirely devoted to the "resistance." His appointment was intended as a sort of declaration of war against the bourgeoisie, whose scathing, dismissing the vulgarity of his legal control, financial and media.
[8] The main contribution of this scenario Pasolini "was to give him a character structure that Dante probably was already in the idea of Sade, that I divided the script in circles, I got her This kind of verticality and order character of Dante "(cf. N. Naldini, Pier Paolo Pasolini, Paris, Gallimard, Biographies, 1991, p. 416).
[9] As Lisa said El Ghaoui, "The body is seen as a capitalist product that is consumed and thrown away when no longer used" (cf. L. El Ghaoui, Languages of desire and metamorphoses of the body in the work of Pier Paolo Pasolini, Ph.D. Thesis, University of Grenoble III Discipline: Italian Language and Literature, November 25, 2006, p. 553).
[10] DANTE The Divine Comedy (vocals thirty-fourth), Paris, Editions LIDIS, 1982, 194 p.
[11] R. Barthes, "The tree of crime", in As Is (The thought of Sade), No. 28, Winter 1967, p. 95, pp. 23-37.
[12] S. DANEY, "Note on" Salò "," in Cahiers du cinema, No. 268-269, July-August 1976, p. 103.
[13] J. MAGNY, "A Liturgy of nothingness and horror", in M. ESTEVE (presented by), Studies in Film: Pasolini. A cinema of poetry, No. 112-114, 1977, p. 194-195.
[14] According Michael Brix, "libertines inevitably happen one day or another, want to wake up their imagination to breathe by removing the ban major Thou shalt not kill. Crime will provide them, they hope, the pleasure they find more in the sexual act itself "(cf. M. BRIX," The Hundred and Twenty Days of Sodom libertine utopia "of the text lecture given at the Congress Sade, College of Charleston, South Carolina, March 13, 2003).
[15] " There in the speech and fascist National Socialist obsession constantly and loudly displayed reshape the social and radically transform not only the relations between classes, but the man himself, as a product of history and a culture which repudiate the legacy of fascism "(cf. P. Milz, The Fascism, op. cit., p. 304).
[16] M. Blanchot, "Sade's Reason," in Lautreamont and Sade, Paris, Les Editions de Minuit, 1963, 380 p., pp. 15-49.
[17] For Gilles Deleuze, "Nietzsche was disfigured when the thinker is in fact the death of God. Feuerbach is the last thinker of the death of God: it shows that God has never been the unfolding of man is an old story. But what interests Nietzsche's death of man. As God exists, that is to say as the God-form works, man does not exist yet. But when the shape-Man appears, she does that already include the death of the man, at least three ways. On the one hand, where man could he find the guarantor of identity, in the absence of God? On the other hand, the form-Man did constituted itself in the folds of finitude: it puts in man's death. Finally finiteness forces themselves are that man exists only through the dissemination of organizational plans of life, the disappearance of languages, differing modes of production, which implies that the only "critical knowledge "is an" ontology of the annihilation of beings'. " (See G. Deleuze, Foucault, Paris, Les Editions de Minuit, Collection "Critique", 1986, 141 p., pp. 131-141).
[18] Cf M. Blanchot, "Sade's Reason," in Lautreamont and Sade, op. cit.
[19] Those who defend the film historically are not legion. Included among them Andre Cornand: "This monstrous sadist, this unlimited power and anarchic masters Silling found its equivalent in the Nazi-Fascist Republic of Salò. This is the historical referent of the film and the movement is justified "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in The Journal of Cinema, No. 302, January 1976, p. 98).
[20] The SS had indeed massacred at Marzabotto and surrounding area, nearly one thousand victims between September 29 and October 5, 1944.
[21] I. Calvino, "Sade is in us," in Cahiers du cinema, No. 421, June 1989, pp. 56-57 (originally published in the Corriere della Sera, December 1975).
[22] JA CHER, "Salò or the 120 Days of Sodom," in Screen, No. 49, July 15, 1976, p. 49.
[23] FOUCAULT (interview with G. DUPONT), "Sade, Sergeant of Sex", op. cit., pp. 3-5.
[24] For Pasolini, allegory is "a work which means everything else thing refers to another reality "(cf. J. DUFLOT, Pasolini, Paris, Editions Pierre Belfond, 1970, 175 p.)
[25] Cf M. Boyer, M. Tinel, The films of Pier Paolo Pasolini, Paris, Dark Star, 2002, 239 p.
[26] According to Pasolini, "Practical reason says that during the Republic of Salò was very easy and" in air time "to organize what has been organized Sade's heroes: great orgy in a town controlled by the SS "(see JA Gili, Italian cinema, op. cit.).
[27] L. EL Ghaoui, Languages of desire and metamorphoses of the body in the work of Pier Paolo Pasolini, op. cit., pp. 549-550.
[28] P. Klossowski, "Sade and the philosopher villain," in As Is (The thought of Sade), op. cit., pp. 3-22.
[29] See N. Naldini, Pier Paolo Pasolini, op. cit.
[30] See N. Naldini, Pier Paolo Pasolini, op. cit.
[31] Pasolini also think that his films are never erotic: "maybe because I'm disabled and I do not know represent eroticism as eroticism. Eros, in my movies is always a relationship drama, metaphorical "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in Film Review, op. Cit., P. 101).
[32] J. DELMAS, "Salò or the 120 Days of Sodom," in Jeune Cinema, No. 92, January-February 1976, p. 8.
[33] Andre Cornand also seen in the last sequence, another form of resistance: "The latest images show two young men dancing together while listening to the radio. Several interpretations are possible. Probably conscripted, they await news of the "Liberation" close. Read in 1975 "liberation" of bourgeois power. Anyway, their dance "homosexual" is a sign of claim Pasolinian which is itself only a metaphor for the uprising against the repressive forces "(cf. A. CORNAND" Salò or the 120 Days of Sodom, "in Film Review, op. cit., p. 101).
SALO OR THE 120 DAYS OF SODOM
Director: Pier Paolo Pasolini. Interpretation: Bonacelli Paolo, Giorgio Cataldi, Umberto P. Quintavalle, Helen Surgères. Origin: Italy . Duration: 2:00 . Year: 1975.
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