Although the title of the film is called sweet life, from the perspective of the protagonist, there is no sweetness. Instead, there is emptiness, loneliness, confusion, intercourse with prostitutes, lack of fatherly love, wife's catharsis, spiritual support suicide, and The dances and sex parties that appear in the film all show people a void society, just like the philosopher Nietzsche believed that there is no truth or truth, the world is false, cruel and meaningless, and art is just false, just art. This kind of falsehood is not to deceive.... The
image plays a role in the film throughout the film. The protagonist reporters are surrounded by photographers. They hold the camera flash in their hands and press the shutter on the subject. . The image is not a representation of the world in the sense of a substitute, but has a direct material connection, and the image is not a secondary reproduction of the scene seen by the human eye, but a direct reflection of things on the same level as the human eye. It's just that the camera lens replaces the receptor of the human eye's retina, and the use of imagery also deepens the tone of the film.
In the process of watching the film, it is not only visual and sensory enjoyment, it has fundamentally shaken and changed the way we perceive the world and think about ourselves, which can be called the movement of thinking. At the end of the film, after Marcello finished the sex party, he came to the beach with his companions. The sacred symbol of "fish" in religion was also expressed as a weird thing. In the close-up, the empty eyes of the fish , as if to treat this group of people as monsters, and then Marcello found that the girl was inviting him on the other side, but the words of the two were drowned out by the sound of the sea. Although Marcello clearly understood the girl's original intention, but in his view Come, the girl's call can't save Marcello, who is in deep depression. It's like the gap between Marcello and the girl that can't be bridged. Then Marcello followed the pedestrians and left. In the familiar field, watching Fellini's films has a direct feeling that the image in the lens has rushed out of the screen and entered our real world. It is no longer that we face the image directly, but we are surrounded by it; the film does not just present the image, but what Deleuze calls "the world surrounds the image". Images are intertwined with things and people in real life, making it impossible for us to distinguish between what is real and what is fake. When we look back on our real life, whether we are also experiencing a little bit of the protagonist's predicament.
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