The Camera and the Crowd
In La Dulce Vita, at the miracle in the field, and again in Roma, along the highway, Fellini explores the relationship between the spectator and the spectacle, the camera, the crowd and the conflagration of the Sense-Event. In both extended scenes, there is the camera: many cameras with intersecting gaze; there is the crowd: assembled for an event, and producing of itself an event. The crowd surrounds the camera, invades the camera, and the camera invades the crowd, they are one and the same, in co-habitation. The crowd and the cameras together form a pluralistic, mutating perspective. There is the rain, which implies disruption but in fact pulls together, intersects, merges, heightens - the show must go on. The spectator and the spectacle are one and the same, they merge as a dynamic and disrupted complex. The spectacle collapses in this complex - or perhaps achieves its highest realization. The reactive forces find a way to act their activity, to escape the cycle of reactivity. And here we begin to understand the strange power of the crowd, its consumption and totalization within the spectacle and the path for it to explode its limitations, to virtualize and to proliferate - to speak for itself.
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Before there is the film, or even the Sense-Event of the film, there is the title: La Dolce Vita. In your post the title has exploded its limitations to become La Dulche Vita. Thus you brilliantly demonstrate that, from a Deleuzian perspective, Sense is extra-adjectival.
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