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There will be many places to look but a recent book that caught my eye is Gary Indiana's Salo or the 120 Days of Sodom, London: British Film Institute, 2000, with numerous illustrations. At 06:07 PM 1/11/01 +0000, you wrote: >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