Abstract

Beginning with the hypothesis that the cinema offers a yardstick for fantasy by actualizing it in a filmic space and time, the text works out or « operates)) Pasolini’s Decameron by noting the contaminating effects of foreign bodies on individualized, essentialized, « own » bodies. Displacing the operation onto the structure of the film itself, it analyzes the dispersion of the cosmological order of narratives and the emergence, amidst the narrative sequences, of a continental discontinuity of bodies and spaces. A cinema of materials and postures, the Decameron is a cinematographic materialism, expropriating bodies, multiplying them