The extensional coding of the marching procession is the usual symbolism in Fellini's films, and the director also takes connotative processing to enrich this extension and form a set of code system. In this film, there are three marching teams, and the specific form of each team marching is different. At the same time, the three teams in this film all symbolize the gradual transformation of Kabylia's mental state.
The first march appeared in Italy at night. On the night after Kabylia parted with the actor Alberto, she returned to the streets that represented her social status. When the prostitutes agreed to go on a pilgrimage on Sunday, The prayer verses appeared in their eyes along with the marching procession. The barefoot devout believers attracted Kabylia's attention. The pure pupils in the close-up shot revealed a fascination with the "form" of "the marching procession". The grace of God also attracted Kabylia to follow the retired army. At this time, a truck drove into the picture and took up half of the space in the picture. The driver asked, "Would you like to take a ride with me?" Reluctantly boarded the truck. If the team symbolized the grace of God, then the entry of the truck undoubtedly symbolized the real material society. After stopping for a moment, Kabylia finally chose to board the truck. At this time, the team only attracted Kabilly. Ya's attention did not completely arouse her thinking, and it was also the intervention of this factor that changed Kabylia's spiritual world.
Kabylia, who came to rest on the lawn after the pilgrimage, endured the mixture of reality and ideals, longed to change her life, and longed to be blessed by Maria, but she became angry when she found that her life had not changed, When she found the marching procession of the nuns, she couldn't help sneering and teasing. Kabylia scolded like a clown in the cheerful music. She was hiding in the corner, but she held the car and became calm. The nun's singing It was heard that Kabylia watched the marching procession of the nuns, with a remorseful expression on her face like a silent apology, changing from complaining to apologetic, Kabylia, who was tortured by reality, wanted to break free from the status quo.
The third paragraph is also the most thought-provoking. Oscar deceived her and stole her wallet. The original Kabylia story should end like this. There is no hope, no way out, no rescue. However, at this time, Fellini's miracle appeared again. Kabylia left the river and walked on the road in a daze. A group of people sang songs around her, and she was also encouraged by the music. The face gradually became vivid, in the close-up she Staring in the direction of the camera crosses our line of sight, but never really stops in one place. Bazin commented brilliantly on this scene: "Here, too, she is inviting us with a glance, inviting us to follow her on the road home. The invitation is so pure, discreet, and vague. Not sure, we had good reason to pretend that she was going to see someone else. Still, the invitation was so clear and straightforward that we finally forgot our audience and were moved by it.” Ya joins the Fellini-esque march, an arrangement that affirms the meaning of life, continuing on the symbolic path that we are all bound to walk. This work celebrates the great achievement of the director's ardent symbolic vision that transcends the material world of reality that constantly threatens the survival of the conservatively besieged protagonist.
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