Comparison Of Nights Of Cabiria And La Dolce Vita

Nights of Cabiria and La dolce Vita left me absolutely stunned, in awe of what I had practiced witnessed. I found some(prenominal) of these icons to be unspeakably beautiful, an in my opinion, the best of the films weve seen thus remote. twain films atomic number 18 unmistakably Fellini.\n\nIn La dolce Vita, we be given a coup doeil of a filmmaker that has locomote far neo-realist roots. part Nights Of Cabiria was certainly a departure from neo-realism, (and far less neo-realist than La Strada, which was on the dot one picture forward this one) it certainly had many more neo-realist elements (the plight of the poor and oppressed) than La dolce Vita. La Dolce Vita would introduce us to a world almost never considered before in Fellinis films, that of the bourgeois, or upper-class. A film following a sponsor from party to party among the moneyed is practically a slap in the face to the neorealist cause Therefore it is often tell that Nights of Cabiria marks the conclu sion of the archetypal phase of his c arer and La Dolce Vita the beginning of the next. I prefer to see his films as a continuous optic timeline of Fellinis artistic growth.\n\n twain La Dolce Vita and Nights of Cabiria overspread in an episodic manner. While Nights Of Cabiria has a tighter, more conventional narrative structure, La Dolce Vita is practically a series of short films. The combination of these scenes is what leads to the complexness of the films message. When it is asked of us, What are these films about? there genuinely is no easy resolution because they are about so much. Each passing event carries a meaning of its take in that adds to the overall meaning of the picture.\n\n both(prenominal) films contain the typical Fellini clowns, heathen performers, false appearances of the Virgin Mary, as well as other(a) religious symbolism, nightclubs, prostitutes, stone houses by the sea, processions, and scaffolding outlined against the dawn. These may be symboli c or merely personal touches from his imagination.\n\nI feel that it is necessary to plow the ocular aspects of these films. Both films are a huge leap, cinematically speaking, from his other films. Before Nights of Cabiria, little care had been paid to the cinematic, or visual aspect of Fellinis films. In Nights of Cabiria, Fellini...If you want to get a full essay, order it on our website:

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