Politics and perversion (Pier Paolo Pasolini’s de Sade today)

The article attempts to examine Pier Paolo Pasolini?s film Salo, or 120 Days of Sodom, not only as an adaptation Marquis de Sade?s work, but a possible response the problems modern society, which reanimates fascism, no longer political ideology, ?natural? form contemporary human sensibility. Relying on his original ?semiology reality,? expression is cinema, embodies non-political logic fascism perversion, hidden behind facade ideology. shows that Salo consistently contradicts key principles cinematic expressiveness theory itself, focuses moments in ?reality? reveals itself (acting life itself). As result, connects unconnected - shock scenes torture and sexual violence with cultural allegory anesthetizes effect visual violence. For Pasolini, both culture are mechanisms for analyzing ephemeral substance power, inevitably generates some while Sade discoverer basic sensual (plastic) syntagmas embodied figure libertine. sadistic libertinage, combines idea freedom practice torture, finds at very heart politics, its operative unconscious.