The camera, in most cases, looks up at women like Saraghina they have sexually provocative attitudes and are at the same time somewhat scary. The usage of all these eye catching colors in one single frame is the fact that in some cases, Fellini’s works are not narratively constructed on one single protagonist, and there is more than one individual story to follow during the narration, so in some cases, visually none of the characters stand out as they are have equal narrative importance.Įven in films like “Le Notti di Cabiria”, where a woman is the main character and not a secondary one, Fellini’s women represent a distorted, exaggerated (in terms of makeup and attitude) figure, the very same image that later reappears in Giuseppe Tornatore’s works. However, in films like “Amarcord” and “Satyricon”, there is an explosion of colors.
Guido’s distorted shadow is reflected on the bare white walls of the location in this case, the dominant visual presence of the shadow is also an indication to Guido’s dominant character in that very scene. In his black and white films, the visual emphasis is caused by highly contrasted images and spotted lights, especially in dream scenes, like the harem scene in “8 ½”.
Though Fellini has made films both in color and in black and white, his visual approach in all his films remained the same: Fellini’s visual texture is extremely marked out.
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