Home > Pier Paolo Pasolini, salo, sex quartet, trilogy of life > Sex Quartet, Hypothesis 1a

Sex Quartet, Hypothesis 1a

If, as Marazzi claims, financialization, counts language among the forces of production, the “communication” of percepts and affects also become productive in that period. Looking back from the 1970s, artistic forms of pervious periods appear as historical material and as expressions of material history. The conditions of late capitalism’s emergence transform Pasolini’s free indirect: it starts as a depiction of contemporaneous subjectification as class conflict and by the time of the Sex Quartet has become the genetic image of historical socia. These movies fade the 19th century aesthetic by presenting it’s objects as a historical series rather than as their own project.

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