Film Review: Formal/Avant-Garde Style Of Film

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Federico Fellini’s 8½ is a formal/Avant-Garde style of films. The film opens with a spectacular scene of a dream sequence where we see a man who is trapped inside of a car, a close up shot was used to make us feel his melancholy, sympathize with his situation and clearly see what the character is trying to do. It was hard to see or recognize his face because the character was back to camera which made it hard to see what is he thinking of or feeling. The doors and windows are locked and there is no way to escape which gives us the feel of being trapped, moreover, the frame was tight in which he couldn’t move or do anything that would help him and that means that the director is clearly doing it in purpose so that we sympathize more with his…show more content…
It’s an easy thing to imagine a man waits patiently in line for a drink. The scene starts as old women walking in the woods, using a horizontal moving camera that suggests insignificance of what is going on, also using a dolly shot, the camera pans around, tracking all different characters at the spring. Some young, old, nuns and priests, but mainly rich folks dressed in peculiar outfits, but instead, Fellini gets unreal. He places an orchestra at the spring, which plays Wagner’s hugely stirring “Flight of the Valkyries.” Finally, an establishing shot showed us where all these people are going and for what purpose. Most of Fellini’s establishing shots come at the end of the scene, where he tries to trick and manipulate us. Guido appears in the scene standing on the line waiting his turn, a woman approaching him from the woods, appeared as a butterfly in the way she moves and being completely lit with a high contrast, while she’s in a white dress made her look like an angel of mercy (nurse). All the traits referred to her complete innocence, purity, and truthfulness. The close up shot gave us this sense where we see her beauty and femininity on her face. Guido’s glass where we see him wearing it most of the time suggests his attempt to hide behind the real
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