NotesontheImages:AllieDudleyandCordeliaDuff FirstandSecondImages:Pasolini,TheDecameron Madonnaandchildsitinthecenter,itisshewhowilldecidewhomtosave,notChrist (asistypical) Theclassicscene(asseeninthethirdimage)isoneofjudgmentandasharpcontrast betweenrewardandpunishment.WeseethisinPasoliniaswell,butdecidedbyMary, whoholdsaninfantanddistractedChristonherlap MadonnadoesnotreplacethejudgmentalChrist,sheisanadditiontothesceneChrist remains,butasaninfant,andweseetheinfluenceofthemotherfigure SilvanaManganoalsoplayedJocastainEdipoRoi,addinganotherlayertothemother symbolismandcomplication Madonnasfacialexpression(secondimage)isnotascompassionateasonewould expectfromtypicalMadonnaandChildimagery,butthereisaprofoundsadness coupledwithangerassheregardsthescenebelowher (http://images3.cinema.

a.de/imedia/5580/1725580,ffNkv8iw+iBXLFCADRJCDE4PtMyods 9ceNYF+QPzYb0+65U3uBIUujunTmRVN0q3CP3G7kWC3_GFiJQ3iKBD_w==.jpg) Sadnessandslightlyaccusatory,butthereisacompassionthereaswell,Madonna lookstowardshell,NOTheaven,andthenudityandnunsonthesideofhellcannotbut remindusofthecharactersinthepreviousstoriesofthefilm

SecondImage:Giotto,TheLastJudgmentinScrovegniChapel http://4.bp.blogspot.com/_BYriW5HXWus/TR6Kh9EUV8I/AAAAAAAADLg/jlgsGVoQjPg/s1600/S crovegni_Chapel_LastJudgment%255B1%255D.jpg TypicalmedievalimageoftheLastJudgment(albeitwithGiottosrevolutionaryattention toformandperspective) Christsitsinthecenter,hislefthandpointstothecondemned,righttotheredeemed Didacticimpulseofthepiece.Itinspiresfearintheviewer,showingtheconsequenceof sinning.Thesceneisimposing(aboveheads,constructedaroundahighwindow), leavestheviewerinlittledoubtofitsauthority Christdecidingthefateofhumanityisafearfulimage,notalovingimage,asheregards onlytheblessed,leavingthecondemnedwithouthisnoticeandlostinafierypitofhell ThecontrastwithPasolinisimageofMadonna.GiottosChristdoesnotholdthesubtlety ofexpressionfoundinPasolinisMadonna.Pasolinigivesusamuchmorenuanced viewofthelastjudgment,animagestillharshbutwithMaryspassiontemperingthe harshnessofhumanfate

Conclusions: Quickreminderofourpresentation:weexplainedTheDecameronintermsofits portrayalofsexualintimacy,concludingthatasthefilmleavesuswithconflicting

definitionsofsex(sexasedenic,magical,heavenly,transcendent),andthefinallineof thefilmiswhycompleteaworkofartwhenitssonicejusttodreamit,Pasolini doesntwantustoanswerthequestionofwhatissex.Ifweweretoanswerit,thework ofthemoviewouldhavefailed,asthemovieattemptstoembracesexualityinallits forms,nuances,anddefinitions. ThecontrastbetweenthesetwoimagesandinthefinalproductofPasolinischaracter ofGiottosupportsourunderstandingofthefilmasexpressingthebeautyofadream thatislostinitsactualization(asGiottosdreamorvision(firstimage)contrastswiththe actualcreationoftherealGiotto(thirdimage)) TheadditionofMaryintothesceneofthelastjudgmentemphasizestheambiguityofthe moralityofsex,assheisasomewhatmorecompassionatefigurethanthetypical imageofChrist Takingthecontrastwepointedoutabovebetweentheseimagesandtheconflicting accountsofsexualityPasolinipresentsinthefilm,weareleftwithanevenmore ambiguousaccountofsexualitythanwehadthought ThisvisionofPasolinischaracterofGiottodoesnotmerelypresentadifferentfacetof sexuality,astheindividualepisodeshaddone:itinsteadbringsintoquestionthemorality ofsexualityitself,underminingtheconceptionsgivenpreviouslyinthefilmofsexasa paradise,aneden,orinnocence. Addingthiscondemningviewofsex(thenunsandnudefigureare,afterall,ontheside ofhell,howevercompassionatelyMarymightberegardingthem)totheconflicting,but positive,accountswehavepreviouslyinthefilm,Pasolinisfilmleavesusnotonly unabletopreciselydefinesexasEdenicorparadisalormagical,butwiththeinabilityto quantifyitasmoralorevil