The main thematic separation between classical neo-realism and poetic realism is the socioeconomic tendencies of the films and their makers, as neo-realism utilizes documentary aesthetics to further accentuate their point of urban decay and hardships after WWII, Fellini’s poetic realism, along with the poetic realism of France in the 1930’s wasn’t too concerned with that, rather turning their visions inwards to explore the individual and their thought process in expressed and augmented aesthetic realities. Now the question is: what defines poetic realism and how did he use these sensibilities and aesthetic techniques to veer away from neo-realism in 1954’s La Strada? There are five films made within this section of transition for the director, the initial break from certain neorealist tendencies in La Strada (1954), Il Bidone (1955), Nights of Cabiria (1957), the international smash hit La Dolce Vita (1960), and the culmination of these poetic realism tendencies in 8 ½ (1963), often seen as the directors best work. There is a certain point in Federico Fellini’s film career that is historically seen as a “transitional” period for the director where he moves away from the Italian Neo-realism of his roots (in filmmaking) and continues on to establish a style of boundless multi-textual poetic realism. Federico Fellini’s Transcendental Exodus: Poetic Realism in “La Strada”
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