Essere (in)giusti con Pasolini. Salò e l’inferno dell’edonismo

The paper stems from a critical judgment by Rocco Ronchi about the anti-modern sensitivity of Pasolini’s thought and works. It shows then how this sensitivity enabled the Friulian poet to comprehend the impact of contemporary power dispositifs on lives, desires and bodies. The analysis of this impact focuses on the movie Salò o le 120 giornate di Sodoma. The hipotesys here is that Salò has been conceived as a “trap for spectators” in which three layers of historical time (1785, 1943-44 and 1975) overlap in a sole constellation of time, allegorically alluding to what the director has constantly denounced as “The fascism of consumption”.

Il testo mostra come i tratti antimoderni della sensibilità pasoliniana ostacolino la piena comprensione dell’impatto dei dispositivi di potere sulle nuove soggettività. Ma, al contempo, proprio quei tratti ne permettono anche un’approfondita critica.