Psychoanalytical Fundamentals In Federico Fellini's "Eight & A Half"

Psychoanalytical fundamentals in Federico Fellini’s eight and a half contains at its essential performance of fantasies that would ordinarily create a nervousness impression. but these imaginations are achieved by form and oriented toward a sensation also gratification. in Fellini’s directed film the meaningful act of psychoanalytical was also a form of expression and a defense mechanism within people: they transform unconscious fantasies to ideas acceptable to the human’s conscious awareness reality verses fantasies. during this transformation curtain, evoked fantasy to satisfy the aesthetic unity. when taking films as a form of art it creates embodiment of psychological process in where the work of art is being incorporated currently of our psychic process in a sense where we create this transformational process and whatever personal analogies that we deem fit and appropriate to use a film like 81/2 was so virtuously subjective. you can see [Fellini] uses his fantasies and directed a film to express his problems and fantasies as a director.

With high abstractable meaning to profound oblivious personal fantasies. a work of art like 8 1/2 that confines himself to one level the autobiographical fantasies. psychology led to his interest in dreams and his keeping of dream notebooks starting in 1960 his interest in dreams led in turn to the dreams surrealism and cinema of this 60-minute film and ultimately to 81/2 Bondanella 1992 pp. 150-163 it is in 81/2 it seems to me as to most critics that Fellini finally decisively breaks with realism turning instead to fantasy Fellini showed us that all the surrounding people doubted that he was incapable of what he was doing like his production team assistants this is where Fellini takes a drastic turn from neorealism films to fantasy films creating a new kind of film for him the film 81/2 was fashioned to broadcast what really happened in real life; Fellini used press manipulation to make all that happened possible however in the film 81/2 Guido never succeeded in his filmmaking venture. additional one of Fellini’s another psychoanalytic created a film with a universe whose inhabitants merge to create a single environment in order to avoid a disagreement with luisa he slips into a daydream and fantasizes of a place where all his women including the oversizedBprostitute saraghina from his youthful reminiscences boundaries amongst internal and external fade away.

Guido Fellini’s fantasies about women are polarized between a devouring huge woman and the angel who is however innocent and ignorant he himself turns spiritual using these created idealized objects of his vision of purity and innocence an outward protrusion. the scene where Guido brings gifts to the women is an expression of psychoanalytical expression that where the man would gift the women and possess all that she has to offer pamper him and adore him until once they get too old they would be retired to the upstairs of the house and no longer serve him ideally, he loves younger women and preferably have younger women service him the film intertwines in and out of reality and imagination. some film critics would even have complained that it was impossible to tell what was real and what was taken place in Guido’s head and his imaginary thoughts with the film 8 the balance was perfect a film that stands uneasily to understand but still have enough of productivity in between what was fantasy and what was real. Guido was Fellini’s way of expressing a recreation of himself through the character actions memories fantasies. everything about this marvelous film- had a real-life parallel for Fellini; just as with the film 8 he has created a mirroring effect of what was going on in the director’s head what his characters said about Guido’s proposed production becomes true of 8 to be sure this is a film of layers both on and off-screen where reality and fantasy intertwine together by artistic and autobiographical hits of brilliance film organizations. in the autobiography film was not a film about a director or his persona but a film about a director who was reflecting on himself on his film.

But if there is one element in the film that does not have an equal in reality using a series of real-life correspondences. his character Guido would experience the same crisis of inspiration that Fellini had experienced while initially apprehending the film 8 and through Guido’s character Fellini would create an unparalleled work of self-indulgent work of art. where the director created self-reflection and the incorporation of the filmmaker himself into this work of art. Fellini saw cinema as a way of expression where he was allowed to express himself through his thoughts could be told. here his past his faith his infidelities like the one incorporated into the film his exotic drives. in a sense where it was possible to create his imaginative and technical brilliance into a motion picture. Guido’s rather encumbered perspective on his cinema is much the same as Fellini’s. “The thought I had in my mind something so simple to say in one part of the film the character commented that. now my mind is totally confused. much of 8 follows Guido in that he was in a very confused scenario everyone wants more details but Guido hides away at a health spa receiving he was in a very confused state and was always disordered also he was uninterruptedly receiving the prescription of mud baths mineral water treatments.

Personal obsessions; much like Guido himself his proposed film is preoccupied with elements from his past personal life and reveries. and rather than focus on sorting out his project he distracts himself further by inviting not only his mistress the voluptuous tart carla sandra milo but also his slim and smart wife luisa anouk aimée to join him at the spa. indeed, Guido seems to create this chaotic environment for himself yet his self-important side naively believes that because he is a genius everyone should openly embrace him nevertheless of his performance. he thinks happiness involves of being able to tell the truth without hurting anyone. which is the interpretation of those fantasies and thoughts that is the doorway to a person’s self-understanding. Fellini’s work is informed by psychoanalytic theory it should position as no surprise that in his attempt to analyze the human condition by analyzing the development of effort across his entire work one can witness a separate form of development emerge. Fellini’s work develops as he weaves in and out of personal introspection therefor to understand the work of Federico Fellini one must understand who Federico Fellini is the man himself. numerous events and characters in his movies are dr awn from his own life. field of psychology examines the encouragement of childhood memories that are often suppressed also the mind and a quantity of the mind that we are not aware of what is called the sub-conscious which is like a dream. through the psychoanalysis through the individuals own mind and thought the expression and personal language is brought into expressing the emotions and differs on how they express themselves. the comparison in 8 is more than obvious in the film with the comparison of Guido and Fellini himself this marks the directors full foray into meta-cinema a technique that makes viewer aware of that he/she is in fact watching film. Fellini uses Guido to reference ad the medium to portray his likeliness onto the film and the reality that had been projected. in Fellini’s films are the product of the director’s imagination and not truly coincidences they relate to events in his life and reflect an attempt to understand his own unconscious. the Guido depicted later in the film is a different man than the one shown at the beginning. he begins to acknowledge the feelings of those around him especially his wife and starts to see the consequences of his actions. in the final scene, he brings everyone he knows together in an attempt to take account of his entire life.

The finale of 8 takes place on the set of Guido’s science-fiction film. what follows in the remarkable order where he directs the people that have been involved throughout his life through a systematized building and form a circle around while we all can see that. the distinction amongst his professional life which also included his personal life. Therefore, Guido has been destroyed in other words a mixture of imagination and reality he recognized. Guido has developed and matured and in the final scene he has everyone gathered and no longer relies on his fantasies to find comfort or stability, he was also able to cope with and lived within the reality realm and no longer seeking comfort elsewhere. he has also comprehended that accepting himself as well as others may be the key to all of his problems.