This text on Pasolini’s Salò first appeared something like 25 years ago in Datacide No.6. It was part of a sequence of texts on cinema which began with a piece on Alan Pakula’s Parallax View and ended in a text on Kubrick’s Eyes Wide Shut.
Here Howard Slater returns to and revives his psycho-social analysis of Pier Paolo Pasolini’s last film Salò, or the 120 Days of Sodom.
Homeless Chic – In January 1999 the Independent on Sunday ran a post-modern success story: A homeless person, camping outside
Read Moreshitloads of record reviews from spring 2000…
Read MoreThe Story of COUM Transmissions & Throbbing Gristle by Simon Ford (Black Dog Publishing, London 1999, £19.95) By focusing on
Read Morea Lost And Found Times anthology [Invisible Books] An excellent compendium of poetry drawn from the Ohio based magazine Lost
Read MoreCritical Art Ensemble Autonomedia, 1998 Critical Art Ensemble’s first two volumes, The Electronic Disturbance and Electronic Civil Disobedience, established that
Read Morefolsom was just coming in. jackson, in his studio recognised the slam and nipped the needle out of his arm.
Read MoreFurther into the Mission of the HWF… EIght months have passed since the formation of the Homewrecker Foundation and with
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