SHOW AND SAY THE OBSCENE IMAGE

Abstract

This text is about examining the various affinities and differences between the Marquis de Sade’s romance 120 days of Sodom, and Pier Paolo Pasolini’s Salò or the 120 days of Sodom. What do the book and the novel gain in a comparative approach? This question, which arises in any relationship between cinema and literature, is essential to think in narratives that show and tell pore over the forbidden image. Do they allow asking if it is possible to think in a politically motivated critical capability starting from the obscene scenes that both the novel and the film build?