Structure and art in Fellini's movies

"Fellini appropriates these characteristics and, unlike his Neorealist colleagues, depicts a world of colored, erotic, and blown up fantasies. From The Nights of Cabiria on, all of Fellini’s filmic structure is evidently characterized by quadri, narrators, and separate focalizing characters. 8 ½, Roma, Satyricon, Casanova, I Clowns, A Director’s Notebook and Intervista are the most obvious examples.
Thus, the story line of Satyricon, two young male students fight for the heart of a third, quickly disintegrates into loosely associated episodes, including a bawdy banquet and a funeral rehearsal.
The film ends in midsentence, with the camera retreating from a set as crumbled as the storyline. Likewise Roma, is clearly structured along similar narrative-aesthetic lines: discontinuous, yet highly entertaining independent sequences, distinguished by self-governing imagery that propels the narrative visually rather than verbally—think of the clerical fashion show which, completely irrelevant to the story line, takes almost fifteen minutes of screening.
I Clowns and Roma have almost no traditional narrative structure and rely heavily on a visual narrative."

The aesthetics of Fellini's Art as Seen through its Ties with Popular Entertainment

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