Dear colleagues,
one of our postgraduate students, Domenico Gaspari, is conducting research
on Pier Paolo Pasolini's *Salo'*, and he has a couple of questions I can't
answer, and which I cannot find the answers to. (No surprise there! :-) ) I
hope that you may be able to assist him.
The first question has to do with the function authors such as Barthes,
Blanchot and Klossowski serve in *Salo'*. What does Pasolini actually take
from these authors: are there lines or concepts he 'borrows' from them?
The second question is about the presence of the work of modern painters
such as Leger and Severini in the film. Can there be some message in the
choice of his displays of these artists' works?
Many thanks for your assistance!
George Ferzoco
University of Leicester
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