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Federico Fellini: Films
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Fabe, Marilyn "The European art film: Federico Fellini's 8 1/2." In: Closely watched films : an introduction to the art of narrative film technique / Marilyn Fabe. Berkeley : University of California Press, c2004. Main Stack PN1995.9.E9.F17 2004 Moffitt PN1995.9.E9.F17 2004 PFA PN1995.9.E9.F17 2004 Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000202.html
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Organizers believe the event can boost the city's cinematic pull, which grew with the rise of Cinecitta, the studios built by Mussolini in 1937 where such greats as Federico Fellini and Vittorio De Sica produced their best films. Over the years... Italian filmmaking has been on the wane, despite international successes like Roberto Benigni's Oscar-winning "Life is Beautiful."
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The women who both attracted and frightened him and an Italy dominated in his youth by Mussolini and Pope Pius XII - inspired the dreams that Fellini started recording in notebooks in the 1960s. Life and dreams were raw material for his films. His native Rimini and characters like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would be remembered in several films. His traveling salesman father Urbano Fellini showed up in Dolce vita, La (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. He enrolled in the University of Rome.
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Fellini's first solo-directed film was The White Sheik (1952). Starring Alberto Sordi, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the very popular photographed cartoon strip romance magazines published in Italy at the time. Producer Carlo Ponti had commissioned Fellini and Tullio Pinelli to develop the treatment. Finding the finished screenplay perplexing, Antonioni gave it to Alberto Lattuada who ... turned it down. Fellini then decided to take the plunge and direct the film himself.
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Reynolds, Lessie M. An analysis of the non-verbal symbolism in Federico Fellini's film triology: La Dolce Vita, 8 1/2, and Juliet of the Spirits / by Lessie Mallard Reynolds. 1969. UCB Main PN1998.A3 F3639 1969a
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In 1948 Fellini acted in Roberto Rossellini's Il miracolo with Anna Magnani. To play the role of a silent rogue who is mistaken by Magnani for a saint, Fellini had to bleach his black hair blond. Fellini ... wrote scripts for radio shows and movies (most notably for Rossellini, Pietro Germi, Eduardo De Filippo and Mario Monicelli) as well as numerous and often uncredited gags for well known comic actors like Aldo Fabrizi. A gifted caricaturist, Fellini produced satirical drawings in pencil, watercolors and colored felt pens that toured Europe and North America, and which are now eagerly sought after by collectors. Much of the inspiration for his sketches was derived from his own dreams while the films-in-progress stimulated drawings for decor, costumes and set designs (just as it was for Sergei Eisenstein whose own drawings share striking affinities with Fellini's work). [9]
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