O fantasma de Salò: pulsão midiática no último filme de Pier Paolo Pasolini

Abstract

This article wants to understand how the diegetic logic of Salò, the last film by Pier Paolo Pasolini, engenders an instinctual fascism. This is demonstrated from the Lacanian logic of desire centered on “phantasm” conceptual figure. With the sexual reading of the concept, made by Contardo Calligaris, the article shows that fascism that Pasolini criticizes need not be only political, but also can be put in an economic situation such as that the mediatized capitalism sets in motion.