Example Two

An Assignment and the resulting work.

FILM - THE SEQUENCE - 8 1/2

By definition a sequence is a succession, or a consecutive series, of coordinated elements. In cinema studies, the term may refer to a consecutive series of shots or to a consecutive series of scenes. Thus, all that is necessary is that the shots or scenes in question follow one another consecutively.

It could be argued that Fellini does not follow the rules of sequence and, in fact, jigsaws the world into a puzzle of his own design setting down the pieces in whatever order and at whatever pace he sees fit. Discuss this statement as it applies to the film 8 1/2.

Length: TWO TYPEWRITTEN PAGES MINIMUM

Evaluation:

1. QUALITY OF THE SUBMISSION 10 marks

(based on the depth of the discussion supported by elements sighted from the film)

DUE DATE: WEDNESDAY, MAY 5TH

FILM: 8 1/2 SEQUENCE

At the beginning of his career, Fellini told linear stories that followed a fairly straightforward plot, with a sequential procession of scenes. His later, post modern works possess no such qualities, with more than one narrator, like Amarcord, or no main focus, as in Satyricon. With such a set-up, it would be impossible to present a sequence of connecting scenes, but it would also be complicated to give the audience a main focus, while keeping the same structure as the post modern works. In such a case, there must be a blending of the two different styles of narrative that Fellini was known for. This blending happened only twice in his career, the most famous of the two films being 8 1/2. Over the years, this film has come to represent the filmmaker's transition from linear narrative to non-sequential structure.

At first glance, the structure of 8 1/2 appears to be nonexistent, with its dreams, memories, and fantasies materialising out of nowhere, for no apparent reason. Upon closer examination, however, it turns out that this is not entirely correct, for each segment not rooted in the reality of the narrative is triggered by an occurrence in it. When these triggers are recognized, the viewer becomes aware of a logical sequence in the film.

This all begins with the first scene of the film, also known as the tunnel dream. Although the dream itself makes little sense, an overwhelming feeling of anxiety can be seen in its images. The dream ends with a falling man, and we are then introduced to Guido, and his reality, the film's true focus.

Once introduced to reality, the audience is introduced to his problems and feelings in more literal terms. The viewers are told of his illness, his struggles with his film, and his relationship woes. This explains the imagery of the dream, and prepares the audience for another one.

For this next dream, we are shown a sleeping Guido before we are shown the dream, allowing us to follow the transition easily. This dream coveys the same emotions as the first, but it also gives us the image of Guido's father placing a cape on his son's back. This shows us a responsibility that Guido feels is on his shoulders, and helps us to understand our hero a little more.

In both cases, Guido's feelings and fears are so important to the film that the dreams, as loosely connected as they may seem, become part of the story. With the dreams, we are given little explanation as to why they are part of the story, and why they fit into a certain portion of the plot. This changes as Guido starts to gain more control of himself, and subsequently, his visions. After the dreams, he moves on to memories.

The first memory, the Asa Nisi Masa episode, is triggered by the fortune teller, who writes the words on a blackboard. After she ask what it means, we are taken into Guido's past, and told just what the phrase meant to him. The second memory trigger is less obvious, and once again, explanation comes during the deviance from Guido's present reality. This time, it it the rigidity of the Cardinal and the religion he preaches that causes Guido to remember the Saraghina episode of his past. It is here that we learn of his past encounters with the strict rules of his religion, and the guilt and shame that can be caused by them.

Having learned about his anxieties, and his past, the audience are now prepared to learn more about Guido's conscious desires and problems. This brings them to his fantasies.

The first fantasy occurs while Guido is on his way to a steam bath. He then imagines having an audience with the Cardinal in this setting. In this case, he has been prompted by not only his location, but an experience he'd had in the distant past. It is not an obvious connection, and the film goes as far as to suggest that Guido is not in full control of the fantasy, adding a mythic quality to it.

This mythic quality is proven false by the next fantasy, of which Guido is obviously in complete control. The trigger of this fantasy, the harem sequence, is also very clear. When Louisa, his wife, first sees his mistress, she is understandably upset by her. Found in this uncomfortable position, Guido chooses to withdraw from reality, and create a fantasy world where not only are his wife and mistress friendly, but he also has the favours of plenty of other women.

There is a moment where even his fantasy cannot keep his fears out, and it becomes almost disastrous. Although the anxiety of the fantasy is brought into control, Guido is soon launched back into the problems in his reality. After a particularly trying series of events, Guido goes into another extremely distraught fantasy inspired by the real occurrence of a press conference.

In the press conference sequence, Guido shoots himself in the head. This means a great deal of things, symbolically, but in relation to the more literal aspects of the plot, it simply means that Guido has killed his film. As his producer delivers a nihilistic monologue, telling him that not making the film is a very good idea, among other things, Guido starts one final fantasy.

He first sees the people in his life walking toward him in white, symbolising a transformation through love. From this vision, he moves on to the dance sequence. In this, he joins hands with the people in his life, and disappears with the crowd. However, the boy leading the musicians also represents Guido, and he does not join the others. We are left with the hopes and fears of our hero, who was never truly able to conquer the anxiety.

By the end of the movie, it becomes apparent that the film has been about Guido, and not just about Guido's film (which was also about Guido, but that is beside the point). Instead of watching his emotions and thoughts from the outside, as we do in a perfectly linear sequence, we see it from his perspective, visions and all.

As he must have a life to react to, and for his dreams, memories, and fantasies to spring from, he must be given a sequential, linear life. On the other hand, dreams and other such visions rarely have such a rigid structure. To combine life and dreams is to combine Fellini's two styles of film making. While 8 1/2 has its foundations in his older, sequential films, it is allowed to branch into the freer format of his later works within Guido's own mind.