Decadent works, decadent themes, and decadent personalities figure prominently in the history of film, not only because of screen adaptations of novels and plays (there are at least three versions of Wilde’s The Picture of Dorian Gray and many more adaptations of Wilde’s plays), but also because of the proliferation of decadent themes and types, especially in the silent era. Examples include Theda Bara’s vamp persona and the frequent use of decadent settings for the silent mise-en-scène, such as pre-WWI Vienna in Erich von Stroheim’s The Wedding March (1928). Two key periods of decadence ? the Roman Empire and libertine France ? form the bases of the two modern films most identified with decadence: Federico Fellini’s Satyricon (1969) and Pier Paolo Pasolini’s Salò, or 120 Days of Sodom (1975). Some critics refer to Salò as the ‘last art film’ in cinema history, an assessment that reflects a sense that cinema itself has since entered a period of decadence. But time and again, some filmic form of ‘decadence’ has actually helped to enliven cinema and ensure its continuing artistic value.