Federico Fellini
Federico Fellini | |
---|---|
Born | |
Died | 31 October 1993 Rome, Italy | (aged 73)
Burial place | Monumental Cemetery of Rimini |
Occupation | Filmmaker |
Years active | 1945–1992 |
Spouse |
Federico Fellini
Fellini's best-known films include
Fellini was nominated for 17
Early life and education
Rimini (1920–1938)
Fellini was born on 20 January 1920, to
The couple settled in Rimini where Urbano became a traveling salesman and wholesale vendor. Fellini had two siblings, Riccardo (1921–1991), a documentary director for RAI Television, and Maria Maddalena (m. Fabbri; 1929–2002).
In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonini public school two years later. An attentive student, he spent his leisure time drawing, staging
Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi Titta Benzi, later a prominent Rimini lawyer (and the model for young Titta in
Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), 8+1⁄2 (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions:
It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them.[5]
In 1937, Fellini opened Febo, a portrait shop in Rimini, with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan's Domenica del Corriere. Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. According to a biographer, Fellini found school "exasperating"[6] and, in one year, had 67 absences.[7] Failing his military culture exam, he graduated from high school in 1939.[8]
Rome (1939)
In September 1939, he enrolled in law school at the Sapienza University of Rome to please his parents. Biographer Hollis Alpert reports that "there is no record of his ever having attended a class".[9] Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma, but quit after a short stint, bored by the local court news assignments.
Four months after publishing his first article in
Career and later life
Early screenplays (1940–1943)
Retained on business in Rimini, Urbano sent wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of Marc'Aurelio, began writing radio sketches and gags for films.
Not yet twenty and with Fabrizi's help, Fellini obtained his first screen credit as a comedy writer on
Writing for radio while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war.
Giulietta is practical, and likes the fact that she earns a handsome fee for her radio work, whereas theater never pays well. And of course the fame counts for something too. Radio is a booming business and comedy reviews have a broad and devoted public.[15]
In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto (Knights of the Desert, 1942), directed by Osvaldo Valenti and Gino Talamo. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order".[16] Responsible for emergency re-writing, he also directed the film's first scenes. When Tripoli fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to Sicily. His African adventure, later published in Marc'Aurelio as "The First Flight", marked "the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field".[17]
The
Neorealist apprenticeship (1944–1949)
After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. He became involved with
In 1947, Fellini and Sergio Amidei received an Oscar nomination for the screenplay of Rome, Open City.
Working as both screenwriter and assistant director on Rossellini's
Early films (1950–1953)
In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada's wife, Carla Del Poggio. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.[23] In February 1950, Paisà received an Oscar nomination for the screenplay by Rossellini, Sergio Amidei, and Fellini.
After travelling to Paris for a script conference with Rossellini on
In 1953, I Vitelloni found favour with the critics and public. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.
Beyond neorealism (1954–1960)
Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano. During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression.[26] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.[26]
Fellini cast American actor
During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobino's novel, The Free Women of Magliano. Set in a mental institution for women, the project was abandoned when financial backers considered the subject had no potential.[30]
While preparing
With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral.[33] Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini. For Eduardo De Filippo, he co-wrote the script of Fortunella.[34]
The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto.[35] The scandal provoked by Turkish dancer Haish Nana's improvised striptease at a nightclub captured Fellini's imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside villa. Pierluigi Praturlon's photos of Anita Ekberg after an evening spent with the actress in a Rome night club provided further inspiration for Fellini and his screenwriters.[36]
Changing the title of the screenplay to
Art films and dreams (1961–1969)
A major discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD.[41] Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[42] were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric".[43] As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious directly influenced such films as 8+1⁄2 (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980).[44] Other key influences on his work include Luis Buñuel,[a] Charlie Chaplin,[b] Sergei Eisenstein,[c] Buster Keaton,[45] Laurel and Hardy,[45] the Marx Brothers,[45] and Roberto Rossellini.[d]
Exploiting La Dolce Vita's success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolini's project, Accattone (1961).[46]
Condemned as a "public sinner",
In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: "Well then – a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system."
Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome. He hired cinematographer Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.[52] The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of 8+1⁄2, Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make".[53] The self-mirroring structure makes the entire film inseparable from its reflecting construction.
Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional — the realm of fantasy".[54] After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares that would later become signature tunes of the maestro's cinema.[55] Nominated for four Oscars, 8+1⁄2 won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured Disneyland with Walt Disney the day after.
Increasingly attracted to
... objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.[59]
Fellini's hallucinatory insights were given full flower in his first colour feature Juliet of the Spirits (1965), depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy (Sandra Milo) introduces Juliet to a world of uninhibited sensuality, but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota.
Nostalgia, sexuality, and politics (1970–1980)
To help promote
In March 1971, Fellini began production on Roma, a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences," writes Fellini scholar Peter Bondanella, "are held together only by the fact that they all ultimately originate from the director's fertile imagination."[63] The film's opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons.
Over a period of six months between January and June 1973, Fellini shot the
Late films and projects (1981–1990)
Organized by his publisher Diogenes Verlag in 1982, the first major exhibition of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York.[68] A gifted caricaturist, he found much of the inspiration for his sketches from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, I disegni di Fellini (Fellini's Designs), he published 350 drawings executed in pencil, watercolours, and felt pens.[69]
On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival. That same year, he became the first non-American to receive the
Long fascinated by
For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafka's Amerika. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the world's best director and 8+1⁄2 the best European film of all time.[72]
In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzoni's novel, Il poema dei lunatici (The Lunatics' Poem). A small town was built at Empire Studios on the via Pontina outside Rome. Starring Roberto Benigni as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi.[73] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.[74] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.[75]
Fellini won the Praemium Imperiale, an international prize in the visual arts given by the Japan Art Association in 1990.[76]
Final years (1991–1993)
In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker
In April 1993 Fellini received his fifth Oscar, for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in Zürich for an angioplasty on his femoral artery[79] but suffered a stroke at Rimini's Grand Hotel two months later. Partially paralyzed, he was first transferred to Ferrara for rehabilitation and then to the Policlinico Umberto I in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible coma.[80]
Death
Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier,[81] a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people.[82] At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.[83]
Five months later, on 23 March 1994, Masina died of
Religious views
Fellini was raised in a Roman Catholic family and considered himself a Catholic, but avoided formal activity in the Catholic Church. Fellini's films include Catholic themes; some celebrate Catholic teachings, while others criticize or ridicule church dogma.[86]
In 1965 Fellini said:
I go to church only when I have to shoot a scene in church, or for an aesthetic or nostalgic reason. For faith, you can go to a woman. Maybe that is more religious."[86]
Political views
While Fellini was for the most part indifferent to politics,[87] he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being".[88] In a 1966 interview, he said, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics."[89]
Despite various famous Italian actors favouring the
Apart from satirizing
Influence and legacy
Personal and highly
Contemporary filmmakers such as Martin Scorsese, Woody Allen, Peter Greenaway, Pedro Almodóvar, Tim Burton,[95] Terry Gilliam,[96] Emir Kusturica,[97] David Lynch,[98] Alejandro González Iñárritu, Roy Andersson, Alejandro Jodorowsky, Darren Aronofsky, Yorgos Lanthimos, George Lucas, Giuseppe Tornatore, Paolo Sorrentino, Ari Aster and Luca Guadagnino have cited Fellini's influence on their work.
Polish director
Roman Polanski considered Fellini to be among the three film-makers he favored most, along with Akira Kurosawa and Orson Welles.[100]
I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced Martin Scorsese's Mean Streets (1973),[101] George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1982), among many others.[102] When the American magazine Cinema asked Stanley Kubrick in 1963 to name his ten favorite films, he ranked I Vitelloni number one.[103]
International film directors who have named La Strada as one of their favorite films include
Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992.[107]
8+1⁄2 inspired, among others,
Alice by Woody Allen is a loose reworking of Fellini's 1965 film Juliet of the Spirits.[110]
Fellini's work is referenced on the albums
Various film-related material and personal papers of Fellini are in the
In 2014 the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works, including his unpublished drawings and writings.[121]
Filmography
Year | Title | Director | Writer | Notes |
---|---|---|---|---|
1942 | Knights of the Desert | No | Yes | |
1942 | Before the Postman | No | Yes | |
1943 | The Peddler and the Lady | No | Yes | |
1943 | L'ultima carrozzella |
No | Yes | |
1945 | Tutta la città canta | No | Yes | |
1945 | Rome, Open City | No | Yes | |
1946 | Paisà |
No | Yes | |
1947 | Il delitto di Giovanni Episcopo |
No | Yes | |
1948 | Senza pietà | No | Yes | |
1948 | Il miracolo | No | Yes | |
1949 | Il mulino del Po | No | Yes | |
1950 | Francesco, giullare di Dio |
No | Yes | |
1950 | Il Cammino della speranza |
No | Yes | |
1950 | Variety Lights | Yes | Yes | Co-credited with Alberto Lattuada |
1951 | La città si difende | No | Yes | |
1951 | Persiane chiuse |
No | Yes | |
1952 | The White Sheik | Yes | Yes | |
1952 | Il brigante di Tacca del Lupo | No | Yes | |
1953 | I vitelloni |
Yes | Yes | |
1953 | Love in the City | Yes | Yes | Segment: "Un'agenzia matrimoniale" |
1954 | La strada |
Yes | Yes | |
1955 | Il bidone | Yes | Yes | |
1957 | Nights of Cabiria | Yes | Yes | |
1958 | Fortunella | No | Yes | |
1960 | La Dolce Vita |
Yes | Yes | |
1962 | Boccaccio '70 | Yes | Yes | Segment: "Le tentazioni del Dottor Antonio" |
1963 | 8+1⁄2 | Yes | Yes | |
1965 | Juliet of the Spirits | Yes | Yes | |
1968 | Spirits of the Dead | Yes | Yes | Segment: "Toby Dammit" |
1969 | Fellini: A Director's Notebook | Yes | Yes | TV Documentary |
1969 | Fellini Satyricon | Yes | Yes | |
1970 | I Clowns |
Yes | Yes | |
1972 | Roma | Yes | Yes | |
1973 | Amarcord | Yes | Yes | |
1976 | Fellini's Casanova | Yes | Yes | |
1978 | Orchestra Rehearsal | Yes | Yes | |
1980 | City of Women | Yes | Yes | |
1983 | And the Ship Sails On | Yes | Yes | |
1986 | Ginger and Fred | Yes | Yes | |
1987 | Intervista | Yes | Yes | |
1990 | The Voice of the Moon | Yes | Yes |
Television commercials
- TV commercial for Campari Soda (1984)
- TV commercial for Barilla pasta (1984)
- Three TV commercials for Banca di Roma (1992)
Awards and nominations
Documentaries on Fellini
- Ciao Federico (1969). Dir. Gideon Bachmann (60').
- Federico Fellini – un autoritratto ritrovato (2000). Dir. Paquito Del Bosco (RAI TV, 68').
- Scottish Screen, 102').
- How Strange to Be Named Federico (2013). Dir. Ettore Scola.
- Fellini degli spiriti (2020). Dir. Selma Dell'Olio .
See also
- Art film
- Sergio Zavoli – Riminese sports and documentary journalist, a close friend of Fellini[122][123]
Notes
- ^ Fellini & Pettigrew 2003, p. 87. Buñuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular kinds of films.
- ^ Stubbs 2006, pp. 152–153. One of Cabiria's finest moments comes in the movie's nightclub scene. It begins when the actor's girlfriend deserts him, and the star picks up Cabiria on the street as a replacement. He whisks her away to the nightclub. Fellini has admitted that this scene owes a debt to Chaplin's City Lights (1931). Peter Bondanella points out that Gelsomina's costume, makeup, and antics as a clown figure had "clear links to Fellini's past as a cartoonist-imitator of Happy Hooligan and Charlie Chaplin.
- ^ Bondanella 1978, p. 167. In his study of Fellini Satyricon, Italian novelist Alberto Moravia observes that with "the oars of his galleys suspended in the air, Fellini revives for us the lances of the battle in Eisenstein's Alexander Nevsky (film).
- ^ Fellini & Pettigrew 2003, pp. 17–18. Roberto Rossellini walked into my life at a moment when I needed to make a choice, when I needed someone to show me the path to follow. He was the stationmaster, the green light of providence... He taught me how to thrive on chaos by ignoring it and focusing on what was essential: constructing your film day by day. In Fellini on Fellini, the director explains that his "meeting with Rossellini was a determining factor... he taught me to make a film as if I were going for a picnic with friends".
References
- ^ Autuori, Beppe (30 October 2017). "Ma la casa mia n'dov'è?". Il Ponte (in Italian).
- ^ Alpert 1988, p. 16.
- ^ a b Bondanella 2002, p. 7.
- ^ Burke & Waller 2003, p. 5-13.
- ^ Fellini interview in Panorama 18 (14 January 1980). Screenwriters Tullio Pinelli and Bernardino Zapponi, cinematographer Giuseppe Rotunno and set designer Dante Ferretti also reported that Fellini imagined many of his "memories". Cf. Bernardino Zapponi's memoir, Il mio Fellini and Fellini's own insistence on having created his cinematic autobiography in I'm a Born Liar: A Fellini Lexicon, 32
- ^ Kezich 2006, p. 17.
- ^ Kezich 2006, p. 14.
- ^ "Fellini a Rimini. Storia della documentazione sul regista tra Cineteca, Fondazione e Museo" (PDF) (in Italian). p. 44. Retrieved 21 November 2022.
- ^ Alpert 1988, p. 33.
- ^ Kezich 2006, p. 31.
- ^ a b Bondanella 2002, p. 8.
- ^ Kezich 2006, p. 55.
- ^ Alpert 1988, p. 42.
- ^ Kezich 2006, p. 35.
- ^ Kezich 2006, p. 48.
- ^ Kezich 2006, p. 70.
- ^ Kezich 2006, p. 71.
- ^ Giannini, Rita. "Amarcord In Rimini with Federico Fellini" (PDF). Archived (PDF) from the original on 18 October 2020.
- ^ Information on miscarriage and death from encephalitis cited in Tullio Kezich, Fellini: His Life and Work (New York: Faber, 2006), pg. 74.
- ^ Kezich 2006, p. 157. Cf. filmed interview with Luigi 'Titta' Benzi in Fellini: I'm a Born Liar (2003).
- ^ Kezich 2006, p. 78.
- ^ Kezich 2006, p. 404.
- ^ Kezich 2006, p. 114.
- ^ Kezich 2006, p. 128.
- ^ "Our flexible giant". Cinecittà Studios. Archived from the original on 21 September 2013. Retrieved 20 September 2013.
- ^ a b Kezich 2006, p. 158.
- ^ Kezich 2006, p. 167.
- ^ Fava & Viganò 1995, p. 79.
- ^ Kezich 2006, pp. 168–169.
- ^ Liehm 1984, p. 236.
- ^ Kezich 2006, p. 177.
- ^ Cannes Film Festival: Best Actress, Giulietta Masina; OCIC Award – Special Mention, Federico Fellini; 1957. "Festival de Cannes: Nights of Cabiria". festival-cannes.com. Retrieved 2 August 2009.
- ^ Kezich 2006, p. 189.
- ^ "Cast del fil fortunella (1958)" (in Italian). Retrieved 21 November 2022.
- ^ Alpert 1988, p. 122.
- ^ "Pierluigi Praturlon – Il fotografo che riprese la dolce vita del cinema italiano" (in Italian). Retrieved 21 November 2022.
- ^ Kezich 2006, p. 208.
- ^ Kezich 2006, p. 209.
- ^ Kezich 2006, p. 210.
- ^ Alpert 1988, p. 145.
- ^ "Fellini e l' LSD – sostanze.info". www.sostanze.info.
- ^ Kezich 2006, p. 224.
- ^ Kezich 2006, p. 227.
- ^ Bondanella 1992, pp. 151–154.
- ^ a b c Bondanella 1992, p. 8.
- ^ Kezich 2006, pp. 218–219.
- ^ Kezich 2006, p. 212.
- ^ Bondanella 2002, p. 96.
- incomplete short citation]
- ^ Alpert 1988, p. 159.
- incomplete short citation]
- ^ Alpert 1988, p. 160.
- ^ Fellini 1988, pp. 161–162.
- ^ Alpert 1988, p. 170.
- ^ Kezich 2006, p. 245.
- ^ "Gustavo Rol – Who was he?". 2000-2013.gustavorol.org. Retrieved 9 August 2021.
- ^ A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by Mexican tribes". Kezich 2006, p. 255
- ^ Kezich 2006, p. 255.
- ^ Fellini & Pettigrew 2003, p. 91.
- ^ Kezich 2006, p. 410.
- ^ Bondanella 1992, p. 192.
- ^ Alpert 1988, p. 224.
- ^ Bondanella 1992, p. 193.
- ^ Alpert 1988, p. 239.
- ^ Bondanella 1992, p. 265.
- ^ Alpert 1988, p. 242.
- ^ Bondanella 1978, p. 104.
- ^ Kezich 2006, p. 413. Also cf. The Warsaw Voice
- ^ Fellini, I disegni di Fellini (Roma: Editori Laterza), 1993. The drawings are edited and analysed by Pier Marco De Santi. For comparing Fellini's graphic work with those of Sergei Eisenstein, consult S.M. Eisenstein, Dessins secrets (Paris: Seuil), 1999.
- ^ Kezich 2006, pp. 360–361.
- ^ Kezich 2006, p. 362.
- ^ Burke & Waller 2003, p. 16.
- ^ Bondanella 1992, p. 330.
- ^ Kezich 2006, p. 383.
- ^ Segrave 2004, p. 179.
- ^ Kezich 2006, p. 387. The award covers five disciplines: painting, sculpture, architecture, music, and theatre/film. Other winners include Akira Kurosawa, David Hockney, Balthus, Pina Bausch, and Maurice Béjart.
- Cineaste Magazine(22 September 2003), p. 32
- ^ Kezich, Tullio, "Forword" in I'm a Born Liar: A Fellini Lexicon, 5. Also cf. Kezich 2006, p. 388
- ^ Kezich 2006, p. 396.
- ^ "Federico Fellini, Film Visionary, Is Dead at 73". archive.nytimes.com. Retrieved 24 February 2018.
- ^ Federico Fellini, Film Visionary, Is Dead at 73, nytimes.com; accessed 28 August 2017.
- ^ Kezich 2006, p. 416.
- ^ "Fellini funerali – Basilica di Santa Maria degli Angeli e dei Martiri alle Terme di Diocleziano di Roma". santamariadegliangeliroma.it (in Italian).
- ^ Sintini, Matteo. "Tomba di Federico Fellini" [Federico Fellini's tomb]. Patrimonio Culturale dell'Emilia Romagna (in Italian). Retrieved 17 January 2024.
- ^ Gatti, Francesco. "Fellini 20 anni dopo, cerimonia a Rimini sulle note di una cornamusa" [Fellini 20 years later: Ceremony in Rimini to the notes of a bagpipe]. RAI (in Italian). Retrieved 17 January 2024.
- ^ a b Staff (2 September 2005). "The Religious Affiliation of Director Federico Fellini". Adherents.com. Archived from the original on 16 July 2005. Retrieved 28 June 2016.
{{cite web}}
: CS1 maint: unfit URL (link) - ^ Kezich 2006, p. 45.
- ^ a b Bondanella 2002, p. 119.
- ISBN 978-1-57806-885-2.
- ^ Minuz, Andrea (2015). Political Fellini: Journey to the End of Italy. Berghahn Books. p. 183.
- ^ Kezich 2006, p. 367.
- ^ "Con DC e PRI, Federico Fellini sponsor di due nemicicon DC e PRI, Federico Fellini sponsor di due nemici". Il Corriere della Sera (in Italian). 18 March 1992.
- ^ Dagnino 2019, p. 39.
- ^ Ennio Flaiano, the film's co-screenwriter and creator of Paparazzo, explained that he took the name from Signor Paparazzo, a character in George Gissing's novel By the Ionian Sea (1901). Bondanella, The Cinema of Federico Fellini, p. 136
- ^ "Tim Burton Collective". Archived from the original on 16 June 2007.
- ^ Gilliam at Senses of Cinema Archived 9 February 2010 at the Wayback Machine; accessed 17 September 2008.
- ^ Kusturica Interview at BNET; accessed 17 September 2008.
- ^ City of Absurdity Quote Collection; accessed 17 September 2008.
- ^ Gilbert Guez, review of The Saragossa Manuscript in Le Figaro, September 1966, p. 23
- ^ Morrison 2007, p. 160.
- ^ Scorsese, Martin (March 2021). "Il Maestro – Federico Fellini and the lost magic of cinema". Harper's Magazine. Retrieved 28 October 2022.
- ^ Kezich 2006, p. 137.
- ^ Ciment, Michel. "Kubrick: Biographical Notes"; accessed 23 December 2009.
- ^ "Akira kurosawa Lists His 100 Favourite Films". openculture.
- ^ "strada, La". The Greatest Films Poll – Sight & Sound. British Film Institute. Archived from the original on 20 August 2012. Retrieved 10 October 2013.
- ^ Le Vidéo Club de David Cronenberg : de Brigitte Bardot à Total Recall (avec du Cannes et Star Wars). Retrieved 24 May 2022.
- ^ Burke 1996, p. 20.
- ^ Numerous sources include Affron, Alpert, Bondanella, Kezich, Miller et al.[full citation needed]
- ^ Introduction to Giannina Braschi's Yo-Yo Boing!, Doris Sommer, Harvard University, Latin American Literary Review Press, 1998.
- ^ Stevenson, Billy (15 October 2016). "Mia of the Spirits: Woody Allen's Alice (1990)". Bright Lights Film Journal. Retrieved 11 November 2023.
- ^ Miller 2008, p. 7.
- ^ Sciarretto, Amy (20 January 2015). "Lana Del Rey Is Working on New Music and Shared Some Hints About It". Artistdirect. Archived from the original on 24 February 2016. Retrieved 16 February 2016.
- ^ Burke & Waller 2003, p. 15.
- ^ "Wes Anderson Honors Fellini in a Delightful New Short Film". Slate. 12 November 2013. Retrieved 12 November 2013.
- Filmsite.org. Archived from the originalon 19 April 2015. Retrieved 19 April 2009.
- ^ "Greatest Film Directors". filmsite.org.
- ^ "The 25 Most Influential Directors of All Time". MovieMaker. 7 July 2002.
- Filmsite.org. Archived from the originalon 2 July 2014. Retrieved 19 April 2009.
- ^ "Cinema Archives". Wesleyan University.
- ^ Baker, Tamzin (3 November 2009). "Federico Fellini". www.blouinartinfo.com. Modern Painters. Archived from the original on 21 December 2016. Retrieved 13 January 2021.
- ^ "Sylvain Chomet Steps Up for The Thousand Miles, Variety.com; accessed 28 August 2017.
- ^ Colasanto, Lina (5 August 2020). "Addio a Sergio Zavoli, l'intellettuale della tv grande amico di Fellini" [Goodbye to Sergio Zavoli, the TV intellectual who was a great friend of Fellini]. RiminiToday (in Italian). Retrieved 10 January 2024.
- ^ "Sergio Zavoli e quella Rimini "innaturale" che lo ferì" [Sergio Zavoli and that "unnatural" Rimini that wounded him]. Riminiduepuntozero (in Italian). 6 August 2020. Retrieved 12 February 2024.
Sources
- Alpert, Hollis (1988). Fellini, a life. New York: Paragon House. ISBN 978-1-55778-000-3.
- Bondanella, Peter (1978). Federico Fellini : essays in criticism. New York: Oxford University Press. ISBN 978-0-19-502274-2.
- Bondanella, Peter (1992). The Cinema of Federico Fellini. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-00875-2.
- Bondanella, Peter (2002). The Films of Federico Fellini. Cambridge: Cambridge University Press. ISBN 978-0-511-06572-9.
- Burke, Frank (1996). Fellini's films : from postwar to postmodern. New York: Twayne Publishers. pp. 20. ISBN 978-0-8057-3893-3.
- Burke, Frank; Waller, Marguerite R. (2003). Federico Fellini: Contemporary Perspectives. Toronto, Ont.: University of Toronto Press. ISBN 978-0-8020-7647-2.
- Dagnino, Gloria (2019). Branded entertainment and cinema: the marketisation of Italian film. London. ISBN 978-1-351-16684-3.)
{{cite book}}
: CS1 maint: location missing publisher (link - Fava, Claudio G.; Viganò, Aldo (1995). I film di Federico Fellini [Federico Fellini's films] (in Italian). Gremese Editore. ISBN 978-88-7605-931-5.
- Fellini, Federico (1988). Comments on Film. Fresno, Calif.: Press at California State University, Fresno. ISBN 978-0-912201-15-3.
- Fellini, Federico; Pettigrew, Damian (1 December 2003). I'm a born liar: a Fellini lexicon. New York, NY: Harry N. Abrams. ISBN 978-0-8109-4617-0.
- Kezich, Tullio (2006). Federico Fellini: His Life and Work (1st American ed.). New York: Faber and Faber. ISBN 978-0-571-21168-5.
- Miller, D. A. (2008). 8 1/2 = Otto e mezzo. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 978-1-84457-231-1.
- Liehm, Mira (1984). Passion and Defiance: Italian Film from 1942 to the Present. Berkeley (Calif.): University of California Press. ISBN 978-0-520-05744-9.
- Morrison, James (2007). Roman Polanski (Contemporary Film Directors). University of Illinois Press. ISBN 978-0-252-07446-2.
- Stubbs, John Caldwell (2006). Federico Fellini as auteur: seven aspects of his films. Carbondale: Southern Illinois University Press. ISBN 0-8093-2689-2.
- Segrave, Kerry (2004). Foreign Films in America: A History. Jefferson, N.C.: McFarland & Co. ISBN 0-7864-1764-1.
Further reading
- Angelucci, Gianfranco (2014). Giulietta Masina: attrice e sposa di Federico Fellini. Rom, Centro Sperimentale di Cinematografia: Edizioni Sabinae. ISBN 978-88-98623-11-2.
- Arpa, Angelo (2010). Federico Fellini: La dolce vita: cronaca di una passione (1. ed.). Rome: Sabinae. ISBN 978-88-96105-56-6.
- Ashough, Jamshid (2016). L'enigma di un genio: Capire il linguaggio di Federico Fellini. Pescara: Zona Franca EDizioni. ISBN 978-88-905139-4-7.
- Bertozzi, Marco; Ricci, Giuseppe; Casavecchia, Simone (2002). BiblioFellini: monografie, soggetti e sceneggiature, saggi in volume (in Italian). Rome: Scuola nazionale di cinema.
- Betti, Liliana (1979). Fellini: An Intimate Portrait (1st Eng. language ed.). Boston: Little, Brown. ISBN 978-0-316-09230-2.
- Cinfarani, Carmine. Federico Fellini: Leone d'Oro, Venezia 1985. Rome: Anica.
- Fellini, Federico (1976). Fellini on Fellini. Translated by Quigly, Isabel. Methuen. ISBN 978-0-413-33640-8.
- Fellini, Federico. (2008). The Book of Dreams. New York: Rizzoli International. ISBN 978-0-8478-3135-7.
- Fellini, Federico (2015). Making a Film. Translated by Calvino, Italo; White, Christopher Burton; Betti, Liliana. New York, NY: Contra Mundum Press. ISBN 978-1-940625-09-6.
- Fellini, Federico; Santi, Pier Marco De (1982). I disegni di Fellini (in Italian). Laterza.
- ISBN 978-0-87416-123-6.
- Merlino, Benito (2007). Fellini. Paris: Gallimard. ISBN 978-2-07-033508-4.
- Minuz, Andrea (2015). Political Fellini: Journey to the End of Italy. Translated by Perryman, Marcus (English-language ed.). New York: Berghahn Books. ISBN 978-1-78238-819-7.
- Panicelli, Ida; Mafai, Giulia; Delli Colli, Laura; Mazza, Samuele (1996). Fellini: Costumes and Fashion (1st English ed.). Milan: Charta. ISBN 978-88-86158-82-4.
- Pettigrew, Damian (2003). I'm a born liar: a fellini lexicon. New York: Harry N. Abrams. ISBN 0-8109-4617-3.
- Rohdie, Sam (2002). Fellini Lexicon. London: BFI. ISBN 978-0-85170-934-5.
- Scolari, Giovanni (2008). L'Italia di Fellini (1st ed.). Rome: Sabinae. ISBN 978-88-96105-01-6.
- Tornabuoni, Lietta (1995). Federico Fellini. New York: Rizzoli. ISBN 978-0-8478-1878-5.
- Walter, Eugene (2001). Milking the Moon: A Southerner's Story of Life on This Planet (1st ed.). New York: Crown Publishers. ISBN 978-0-609-60594-3.
External links
- Fellini Official site (in English)
- Fellini Foundation Official Rimini web site (in Italian)
- Fondation Fellini pour le cinéma Swiss web site (in French)
- Federico Fellini at IMDb
- Federico Fellini at the TCM Movie Database
- Federico Fellini biography on Lambiek Comiclopedia
- Site commemorating Fellini's 100th birthday