The filmic material of Salò is one that compacts celluloid and feces, in Pasolini's desire to burst the limits of cinema, via the anally resonant eye of the film lens." Barber also notes that Pasolini's film reduces the extent of the storytelling sequences present in de Sade's The 120 Days of Sodom so that they "possess equal status" with the sadistic acts committed by the libertines. Pasolini scholar Gian Annovi notes in the book Pier Paolo Pasolini: Performing Authorship (2007) that Salò is stylistically and thematically marked by a "link between Duchamp's Dada aesthetics and the perverse dynamics of desire", which, according to Annovi, became artistic points of interest for Pasolini in the early developments of Salò. Legacy Salò has earned a reputation among some film scholars for being the "sickest film of all time", with some citing it as an early progenitor of the extreme cinema subgenre, alongside the American film The Last House on the Left (1972). Film scholar Matthias Frey notes that the cross-section between the film's thematic content and graphic visuals has resulted in it being considered both a horror film as well as an art film: In 2006, the Chicago Film Critics Association named it the 65th-scariest film ever made. In 2010, the Toronto International Film Festival placed it at no. 47 on its list of "The Essential 100 films". In 2008, British opera director David McVicar and Swiss conductor Philippe Jordan produced a performance of the Richard Strauss opera Salome (1905) based on the film, setting it in a debauched palace in Nazi Germany, for the Royal Opera House in London, with Nadja Michael as Salome, Michaela Schuster as Herodias, Thomas Moser as Herod, Joseph Kaiser as Narraboth, and Michael Volle as Jokanaan. This performance was recorded by Jonathan Haswell and later that year was released on DVD by Opus Arte. The Nikos Nikolaidis film The Zero Years (2005) has been compared to Salò. The film is the subject of the documentary Salò: Fade to Black (2001) written by Mark Kermode and directed by Nigel Algar. An exhibition of photographs by Fabian Cevallos depicting scenes which were edited out of the film was displayed in 2005 in Rome. The film's performances by its teenage victims is the subject of Reunion; Salò (1998), an art installation by British artist, Adam Chodzko. Italian filmmaker Giuseppe Bertolucci released the documentary Pasolini prossimo nostro (2006) based on an