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“The initial title of Fellini’s 8 ½ was ‘Beautiful Confusion,’ and Fellini top quality his film as a humor. Whoever has seen 8 ½ cannot help but laugh at the eclectic and satirical humor that imbues Fellini’s work, but the feature does not come off as comic ultimately,” (Horak). While specific critics (such as for example Horak) argue that Federico Fellini’s 8 ½ (1963) evokes partial tragedy, you can dually aver that the film epitomizes a classical, “bathos” model; everything within the ongoing work, the dramatic components even, registers as comedic. In very similar vain to The Satyricon, Fellini’s 8 ½ incorporates an array of visual contrasts (dichromatic style elements, art-house editing design and varied acting methods) to comically externalize his personal past relationships with ladies in addition to his revolutionary romantic relationship with the practice of film. The establishing desire sequence (shots 1-18) defines the tone of the whole film, “The Fellinian technique can be parodic and caricatural, the exaggeration of the same, reflections in a distorting mirror of fun fair” (Rohdie 60). Fellini coalesces crisis and comedy (actually fantasy and reality) to be able to obviously show Guido’s perpetual reverie: the entertainment market. The dream state functions as a foreshadowing technique where the market assumes Guido’s fate, alluding to unique traditions within the Grecian bathetic theater. The phantasmal character of the sequence detracts from the verisimilitude of the task. Guido’s dramatized gestures and the opposing understatement of passersby juxtapose properly within the scene, creating irony and, hence, humor. The overtly contrasted color of the sequence displays a apparent delineation between: the turmoil of Guido’s lifestyle (pressure from the critics, his patro...