What's funny is that Fellini does use visual elements to reinforce his themes such as, for instance, the decay of modern society
This is post-WWII Italy, a country that was devestated--physicially, spiritually, socially and politically--by that war being fought so thoroughly on their land. Although they were amidst the "economic miracle" that muich of Western Europe was experiencing at the time, they were now encountering a spiritual or moral crisis with the onset of modernity and Americanization. This is represented by the impotence and decandent vapidity of many of the characters, the empty church scene, the "flying Jesus statue" scene, the failed orgy, etc. In addition to all of this, there's also the global nuclear threat of the Cold War that was casting a shadow over everyone. In these respects, LA DOLCE VITA has much more in common with Antonioni's films of the same time--L'avventra, La Notte, L'eclisse--that deal with the same themes in a drastically different cinematic style.
Actually he is portraying conservative christian propaganda, which is that modern society is going downhill. He grew up in a society where the catholic church did some heavy social programming and even though you may become more independent you still have doubts due that social programming. Fellini, an extremely playful, progressive and open minded individual was looking forward to the future. He liked heavy partying, women and individualism, the things which were condemned when he grew up - a period of true decay - fascism, war and extreme poverty. The main scenes were la dolce vita - a lifestyle he liked very much which were contrasted with symbolic scenes of doubt installed by the old society and authority. A chiaroscuro of modern and old.
Antonioni often showed egoistical characters (who he loathed yet was fascinated of) within the modern society who he thought should get out of their little boxes and try to adapt to the new world.
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