Reality fantasy and the space in between movie free#
For Fellini, however, film meant a free space for fantasy and memory, and a form where fantasy might transform memory into a beguiling and truthful lie. Such critics understood art as essentially political, a form that either embraced or denied true “commitment”. It’s odd to remember just how despised Fellini was once, a man found guilty by critics on the left of sullying the doctrinal purity of Italian neo-realism with sentiment and solipsism. The comics were a seminal influence on him – he didn’t so much write his films, as draw them, making sketches, doodles and designs that would open up the spirit of the movie. His cinema belongs to the fairground, not the museum. Like Dickens too he was nourished on a genuinely popular culture – comic strips such as Flash Gordon and the circus. As he suggested, his films are trials, but as seen by an accomplice, rather than by a judge.Īnita Ekberg in La Dolce Vita (1960). The chaos is admittedly there, but it’s a creative one he possessed the immense gift of never settling for a fixed view about life. When it came to people and to places, Fellini said of himself, “My capacity for marvelling is boundless … I am not blase about anything”. As for the exaggeration, like Dickens he actually softens and takes the edge off the unexpectedness and weirdness of others, even as he remains alive to it. He is close to Dickens in pursuing a politics based on gentleness, on the thought that a good society will form when this person here acts justly and tenderly to that person there. The outsiders, the marginalised, the victims in life attract him, and he looks at them face to face, never from above, and never from a place removed from their troubling difficulty. Where some see sentiment, his lovers perceive a capacity to feel, not for some idealised abstraction, but for the specific character. As with Dickens, critics find him sentimental, exaggerated and chaotic. In his black and white movies, that almost unparalleled run of masterpieces from The White Sheik (1952) to 8½ (1963), Fellini stands as the Charles Dickens of cinema. While probably all these qualities pervade his films, it’s their curiosity and their openness to the world that enchant you, as he once put it, his “immense faith in things photographed”, the sense that film might allow a moment of communion between the viewer and things, between you and a human face.
They include curiosity, humility before life, the desire to see everything, laziness, ignorance, indiscipline and independence. When the europeans came to north america, they had guns (very primitive though), while the natives had bow’s and arrows.Fellini once laid out the basic requirements for being a film director. The Milky Way has been around for 13 billion years. Earth has been around more than 4 billion years and we have been walking around for a few hundred thousand years (less than 4,000 years as a “civilized” society and less than 150 years as a “technologically advanced” society). It’s statistically extremely improbable that any other civilization in the milky way is close to our development age. Yes, I can say it with a lot of confidence.
Therefore it’s not physically possible that ET to be enjoying “I love Lucy” now, unless ET lives in Jupiter, or lives in Alpha Centauri but has a 100 mile wide antenna aimed at us.Ģ. Even though lasers dissipate too with distance, they do it at a much, much slower rate. The signal strength dissipates inversely proportionally with distance. The reason aliens would not use radio waves as means for communication, is for the same reason Nasa is developing laser space communication, radio antennas use too much power because they are very inefficient. Actually the speed of light is not 250k miles/s, it’s around 300k km/s or somewhere around 180k miles/s.
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