Fellini

The tunnel is appropriately lit in a dark fashion. Dark tones dominate, from Guido's black car to his dark suit, to the many other black cars piled all around him. Light floods from the mouth of the tunnel up ahead, causing slight overexposure; thusly, the space outside the tunnel comes across as being divine territory. .
             The camera moves over the traffic jam; the camera itself, as earlier stated, has an undeniable kinetic energy, throughout the film the camera seems an entity unto itself. This is in keeping with the theme of self-awareness: Fellini does not attempt to deceive us into believing we are not watching a film, rather, he goes to great lengths to ensure that we are fully aware of both the fact that we are watching a film, and that there is a director behind the camera. Pans are used heavily during the scene in the car; the camera is positioned behind Guido, and first pans left to show us an eerie looking man who is staring at Guido, then right, where it picks up and follows the movement of Guido's hand where it begins wiping his windshield, despite the fact that it appears to be spotless. I personally interpret this act to represent the fact that an artist must be a perfectionist to attain true greatness. Smoke, or perhaps fog, begins to fill Guido's car. He struggles desperately to escape the strange mistiness which is overtaking him. He soon manages to escape. The camera tracks Guido from behind as he inexplicably floats through the air, over the traffic jam and out of the tunnel. Guido's arms are stretched outwards, much like Jesus on the crucifix. I take this as representation of the idea that an artist must sacrifice in order to gain true artistic freedom. We then follow Guido as he soars through the sky, seemingly joyous, until a man on a beach below suddenly has Guido attached to a rope, the other end of which he tugs in an attempt to pull Guido down. Later on in the film, this man will turn out to be Guido's producer; the symbolism here is perhaps self-explanatory.