Abstract
Raging Bull (Scorsese, 1980) and Veronika Voss (Fassbinder, 1982) are apparently very distant, but they present very profound traits of union. Both Scorsese and Fassbinder, in portraying their protagonists, use black and white cinematography, often resorting to the use of photographic flashes to accentuate the illusory sensation of a dream of glory. In Veronika Voss there is an openly dreamlike sequence, in which the spectator witnesses the protagonist's farewell to her dreams of greatness. Scorsese, in Raging Bull, apparently refuses to venture into the dreamlike representation of his protagonist's psyche. The vision of Raging Bull, however, is a highly evocative poetic experience: the suspension with respect to reality – that is, the sensation of witnessing the representation of a dream of glory and not of a mere fact – is achieved through the use of the soundtrack, cinematography, editing and, in general, of means that constitute the specifics of cinematographic art.
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