Federico Fellini

From Wikipedia, the free encyclopedia

Federico Fellini, Cavaliere di Gran Croce OMRI

(Italian: [federiko fellini]; 20 January 1920 31 October Federico Fellini
OMRI
1993) was an Italian film director and screenwriter. Known
for his distinct style that blends fantasy and baroque images
with earthiness, he is recognized as one of the greatest and
most influential filmmakers of all time.[1][2][3] His films have
ranked, in polls such as Cahiers du cinma and Sight &
Sound, as some of the greatest films of all time. Sight &
Sound lists his 1963 film 8 as the 10th-greatest film of all
time.

In a career spanning almost fifty years, Fellini won the

Palme d'Or for La Dolce Vita, was nominated for twelve
Academy Awards, and directed four motion pictures that Born 20 January 1920
won Oscars in the category of Best Foreign Language Film. Rimini, Italy
In 1993, he was awarded an honorary Oscar for Lifetime
Died 31 October 1993 (aged 73)
Achievement at the 65th Annual Academy Awards in Los
Rome, Italy
Angeles.[4]
Cause of death Stroke
Besides La Dolce Vita and 8, his other well-known films
Occupation Film director and screenwriter
include La Strada, Nights of Cabiria, Juliet of the Spirits,
Satyricon, Amarcord and Fellini's Casanova. Years active 19451992
Notable work La Strada (1954)
Nights of Cabiria (1957)
Contents La Dolce Vita (1960)
8 (1963)
1 Early life and education Amarcord (1973)
1.1 Rimini (19201938) Spouse(s) Giulietta Masina
1.2 Rome (1939)
2 Career and later life (m. 1943)
2.1 Early screenplays (19401943)
2.2 Neorealist apprenticeship (19441949)
2.3 Early films (19501953)
2.4 Beyond neorealism (19541960)
2.5 Art films and dreams (19611969)
2.6 Nostalgia, sexuality, and politics (1970
1980)
2.7 Late films and projects (19811990)
2.8 Final years (19911993)
3 Death
4 Religious views
5 Political views
6 Influence and legacy
7 Awards
7.1 Selected awards and nominations
7.2 Distinctions
8 Filmography
8.1 As writer and director
8.2 Screenplay contributions
8.3 Television commercials
9 Documentaries on Fellini
10 See also
 11 References
11.1 Notes
11.2 Bibliography
12 Further reading
13 External links

Early life and education

Rimini (19201938)

Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea.
His father, Urbano Fellini (18941956), born to a family of Romagnol peasants and small landholders from
Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida
Barbiani (18961984), came from a bourgeiois Catholic family of Roman merchants. Despite her family's
vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola.[5] A
civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year
later.

The couple settled in Rimini where Urbano became a traveling salesman and wholesale vendor. Fellini had two
siblings: Riccardo (19211991), a documentary director for RAI Television, and Maria Maddalena (m. Fabbri;
19292002). In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini,
attending the Carlo Tonni public school two years later. An attentive student, he spent his leisure time drawing,
staging puppet shows, and reading Il corriere dei piccoli, the popular childrens magazine that reproduced
traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. (Oppers
Happy Hooligan would provide the visual inspiration for Gelsomina in Fellini's 1954 film La Strada; McCays
Little Nemo would directly influence his 1980 film City of Women.)[6] In 1926, he discovered the world of
Grand Guignol, the circus with Pierino the Clown, and the movies. Guido Brignones Maciste allInferno
(1926), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire
career.[7]

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 Amarcord (1973)). In Mussolinis Italy, Fellini and Riccardo
became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with
his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex
(which is shown in Amarcord). The sea creature found on the beach at the end of La Dolce Vita (1960) has its
basis in a giant fish marooned on a Rimini beach during a storm in 1934.

Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), 8
(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.[8]

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 Milans 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"[9] and, in one year, had 67
absences.[10] Failing his military culture exam, he graduated from high school in July 1938 after doubling the
exam.
Rome (1939)

In September 1939, he enrolled in law school at the University of Rome to please his parents. Biographer
Hollis Alpert reports that "there is no record of his ever having attended a class".[11] 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 caf 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 MarcAurelio, the highly influential biweekly humour
magazine, he joined the editorial board, achieving success with a regular column titled But Are You
Listening?[12] Described as the determining moment in Fellinis life,[13] the magazine gave him steady
employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These
encounters eventually led to opportunities in show business and cinema. Among his collaborators on the
magazines editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare
Zavattini, and Bernardino Zapponi, a future Fellini screenwriter. Conducting interviews for CineMagazzino
also proved congenial: when asked to interview Aldo Fabrizi, Italys most popular variety performer, he
established such immediate personal rapport with the man that they collaborated professionally. Specializing in
humorous monologues, Fabrizi commissioned material from his young protg.[14]

Career and later life

Early screenplays (19401943)

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 MarcAurelio, began writing radio sketches and gags
for films.

Not yet twenty and with Fabrizis help, Fellini obtained his first screen
credit as a comedy writer on Mario Mattolis Il pirata sono io (The
Pirate's Dream). Progressing rapidly to numerous collaborations on films
at Cinecitt, his circle of professional acquaintances widened to include
novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of
Mussolinis declaration of war against France and England on 10 June
1940, Fellini discovered Kafkas The Metamorphosis, Gogol, John
Steinbeck and William Faulkner along with French films by Marcel
Carn, Ren Clair, and Julien Duvivier.[15] In 1941 he published Il mio
amico Pasqualino, a 74-page booklet in ten chapters describing the
absurd adventures of Pasqualino, an alter ego.[16] Federico Fellini during the 1950s

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.[17] 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".[18] 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
MarcAurelio 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.[19]
The apolitical Fellini was finally freed of the draft when an Allied air raid over Bologna destroyed his medical
records. Fellini and Giulietta hid in her aunts apartment until Mussolini's fall on 25 July 1943. After dating for
nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs
and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of
encephalitis a month later on 24 April 1945.[20] The tragedy had enduring emotional and artistic
repercussions.[21]

Neorealist apprenticeship (19441949)

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
Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met
Fellini in his shop, and proposed he contribute gags and dialogue for the script. Aware of Fellinis reputation as
Aldo Fabrizis creative muse,[22] Rossellini also requested that he try to convince the actor to play the role of
Father Giuseppe Morosini, the parish priest executed by the SS on 4 April 1944.

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 Rossellinis Pais (Paisan) in 1946, Fellini was
entrusted to film the Sicilian scenes in Maiori. In February 1948, he was introduced to Marcello Mastroianni,
then a young theatre actor appearing in a play with Giulietta Masina.[23] Establishing a close working
relationship with Alberto Lattuada, Fellini co-wrote the directors Senza piet (Without Pity) and Il mulino del
Po (The Mill on the Po). Fellini also worked with Rossellini on the anthology film L'Amore (1948), co-writing
the screenplay and in one segment titled, "The Miracle", acting opposite Anna Magnani. To play the role of a
vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

Early films (19501953)

In 1950 Fellini co-produced and co-directed with Alberto Lattuada

Variety Lights (Luci del variet), his first feature film. A backstage
comedy set among the world of small-time travelling performers, it
featured Giulietta Masina and Lattuadas 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.[24] In February
1950, Pais received an Oscar nomination for the screenplay by
Rossellini, Sergio Amidei, and Fellini.

After travelling to Paris for a script conference with Rossellini on Fellini, Masina, Carla del Poggio and
Europa '51, Fellini began production on The White Sheik in September Alberto Lattuada, 1952
1951, his first solo-directed feature. Starring Alberto Sordi in the title
role, the film is a revised version of a treatment first written by
Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances
popular in Italy at the time. Producer Carlo Ponti commissioned Fellini and Tullio Pinelli to write the script but
Antonioni rejected the story they developed. With Ennio Flaiano, they re-worked the material into a light-
hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to
visit the Pope. Ivans prissy mask of respectability is soon demolished by his wifes obsession with the White
Sheik. Highlighting the music of Nino Rota, the film was selected at Cannes (among the films in competition
was Orson Welless Othello) and then retracted. Screened at the 13th Venice International Film Festival, it was
razzed by critics in "the atmosphere of a soccer match.[25] One reviewer declared that Fellini had not the
slightest aptitude for cinema direction".

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 (19541960)

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.[27] Aided by
his wife, he undertook a brief period of therapy with Freudian
psychoanalyst Emilio Servadio.[27]

Fellini cast American actor Broderick Crawford to interpret the role of

an aging swindler in Il Bidone. Based partly on stories told to him by a
petty thief during production of La Strada, Fellini developed the script
into a con mans slow descent towards a solitary death. To incarnate the
Cinecitt - Teatro 5, Fellini's favorite
roles "intense, tragic face", Fellinis first choice had been Humphrey
studio[26]
Bogart[28] but after learning of the actors lung cancer, chose Crawford
after seeing his face on the theatrical poster of All the Kings Men
(1949). The film shoot was wrought with difficulties stemming from
Crawfords alcoholism.[29] Savaged by critics at the 16th Venice International Film Festival, the film did
miserable box office and did not receive international distribution until 1964.

During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobinos
novel, The Free Women of Magliano. Located in a mental institution for women, financial backers considered
the subject had no potential and the project was abandoned.

While preparing Nights of Cabiria in spring 1956, Fellini learned of his fathers death by cardiac arrest at the
age of sixty-two. Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration
from news reports of a womans severed head retrieved in a lake and stories by Wanda, a shantytown prostitute
Fellini met on the set of Il Bidone.[30] Pier Paolo Pasolini was hired to translate Flaiano and Pinellis dialogue
into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the
Academy Award for Best Foreign Language Film at the 30th Academy Awards and brought Masina the Best
Actress Award at Cannes for her performance.

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.[31] Due to Lorens 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, tailoring the lead role to accommodate Masinas
particular sensibility.

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.[32] The scandal provoked by Turkish dancer Haish Nanas improvised striptease at a nightclub captured
Fellinis imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night
"orgy" at a seaside villa. Pierluigi Praturlons photos of Anita Ekberg wading fully dressed in the Trevi
Fountain provided further inspiration for Fellini and his scriptwriters. Changing the title of the screenplay to La
Dolce Vita, Fellini soon clashed with his producer on casting: the director insisted on the relatively unknown
Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment. Reaching an impasse, De
Laurentiis sold the rights to publishing mogul Angelo Rizzoli. Shooting began on 16 March 1959 with Anita
Ekberg climbing the stairs to the cupola of Saint Peters in a mammoth dcor constructed at Cinecitt. The
statue of Christ flown by helicopter over Rome to Saint Peter's Square was inspired by an actual media event on
1 May 1956, which Fellini had witnessed. The film wrapped August 15 on a deserted beach at Passo Oscuro
with a bloated mutant fish designed by Piero Gherardi.

La Dolce Vita broke all box office records. Despite scalpers selling tickets at 1000 lire,[33] crowds queued in
line for hours to see an immoral movie before the censors banned it. At an exclusive Milan screening on 5
February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by
right-wing conservatives, undersecretary Domenico Magr of the Christian Democrats demanded tolerance for
the films controversial themes.[34] The Vatican's official press organ, l'Osservatore Romano, lobbied for
censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the
film. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending
La Dolce Vita had severe consequences.[35] In competition at Cannes alongside Antonionis LAvventura, the
film won the Palme d'Or awarded by presiding juror Georges Simenon. The Belgian writer was promptly
hissed at by the disapproving festival crowd.[36]

Art films and dreams (1961196 9)

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). Bernhard also recommended
that Fellini consult the I Ching and keep a record of his dreams. What
Fellini formerly accepted as "his extrasensory perceptions"[37] were
now interpreted as psychic manifestations of the unconscious.
Bernhards focus on Jungian depth psychology proved to be the single
greatest influence on Fellinis mature style and marked the turning point
in his work from neorealism to filmmaking that was "primarily
oneiric".[38] 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 (1963), Juliet of the Spirits (1965),
Fellini Satyricon (1969), Casanova (1976), and City of Women
(1980).[39] Other key influences on his work include Luis Buuel,[40]
Federico Fellini
Charlie Chaplin,[41] Sergei Eisenstein,[42] Buster Keaton,[43] Laurel and
Hardy,[43] the Marx Brothers,[43] and Roberto Rossellini.[44]

Exploiting La Dolce Vitas 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 Pasolinis project, Accattone (1961).[45]

Condemned as a "public sinner"[46] for La Dolce Vita, Fellini responded with The Temptations of Doctor
Antonio, a segment in the omnibus Boccaccio '70. His first colour film, it was the sole project green-lighted at
Federiz. Infused with the surrealistic satire that characterized the young Fellinis work at MarcAurelio, the film
ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a
billboard of Anita Ekberg espousing the virtues of milk.

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. Its a warning bell:
something is blocking up his system."[47] Unclear about the script, its title, and his protagonists profession, he
scouted locations throughout Italy looking for the film[48] in the hope of resolving his confusion. Flaiano
suggested La bella confusione (literally The Beautiful Confusion) as the movies title. Under pressure from his
producers, Fellini finally settled on 8, a self-referential title referring principally (but not exclusively)[49] to
the number of films he had directed up to that time.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates,
had sets constructed, cast Mastroianni, Anouk Aime, 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.[50] The crisis came
to a head in April when, sitting in his Cinecitt 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, 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".[51]

Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena
Boyer, the directors 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".[52] After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares
that would later become signature tunes of the maestros cinema.[53] Nominated for four Oscars, 8 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 parapsychology, Fellini met the Turin magician Gustavo Rol in 1963. Rol, a former
banker, introduced him to the world of Spiritism and sances. In 1964, Fellini took LSD[54] under the
supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada.[55] For years
reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that

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.[56]

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 sance 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 (19701980)

To help promote Satyricon in the United States, Fellini flew to Los

Angeles in January 1970 for interviews with Dick Cavett and David
Frost. He also met with film director Paul Mazursky who wanted to star
him alongside Donald Sutherland in his new film, Alex in
Wonderland.[57] In February, Fellini scouted locations in Paris for The
Clowns, a docufiction both for cinema and television, based on his
childhood memories of the circus and a "coherent theory of
clowning."[58] As he saw it, the clown "was always the caricature of a
well-established, ordered, peaceful society. But today all is temporary,
disordered, grotesque. Who can still laugh at clowns?... All the world
Fellini & Bruno Zanin on the set of
plays a clown now."[59] Amarcord in 1973

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 directors fertile imagination."[60] The films 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 Oscar-winning Amarcord. Loosely
based on the directors 1968 autobiographical essay My Rimini,[61] the film depicts the adolescent Titta and his
friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in
Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellinis second biggest
commercial success after La Dolce Vita.[62] Circular in form, Amarcord avoids plot and linear narrative in a
way similar to The Clowns and Roma.[63] The director's overriding concern with developing a poetic form of
cinema was first outlined in a 1965 interview he gave to The New Yorker journalist Lillian Ross: "I am trying to
free my work from certain constrictions a story with a beginning, a development, an ending. It should be
more like a poem with metre and cadence."[64]

Late films and projects (198119 90)

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.[65] A gifted caricaturist, much of
the inspiration for his sketches was derived 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 (Fellinis Designs), he published 350 drawings executed in
pencil, watercolours, and felt pens.[66]

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 Film Society of Lincoln
Centers annual award for cinematic achievement.

Long fascinated by Carlos Castanedas The Teachings of Don Juan: A

Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a
Italian President Sandro Pertini receiving
journey to the Yucatn to assess the feasibility of a film. After first
a David di Donatello Award from Fellini meeting Castaneda in Rome in October 1984, Fellini drafted a treatment
in 1985 with Pinelli titled Viaggio a Tulun. Producer Alberto Grimaldi, prepared
to buy film rights to all of Castanedas work, then paid for pre-
production research taking Fellini and his entourage from Rome to Los
Angeles and the jungles of Mexico in October 1985.[67] When Castaneda inexplicably disappeared and the
project fell through, Fellinis mystico-shamanic adventures were scripted with Pinelli and serialized in Corriere
della Sera in May 1986. A barely veiled satirical interpretation of Castaneda's work,[68] Viaggio a Tulun was
published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990.

For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he
visited Cinecitt in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafkas
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 worlds best director and 8 the best
European film of all time.[69]

In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzonis 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.[70] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.[71]
Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to
interest North American distributors.

Fellini won the Praemium Imperiale, the equivalent of the Nobel Prize in the visual arts, awarded by the Japan
Art Association in 1990.[72]
Final years (19911993)

In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew
to establish "the longest and most detailed conversations ever recorded on film".[73] Described as the
"Maestro's spiritual testament by his biographer Tullio Kezich,[74] excerpts culled from the conversations later
served as the basis of their feature documentary, Fellini: I'm a Born Liar (2002) and the book, I'm a Born Liar:
A Fellini Lexicon. Finding it increasingly difficult to secure financing for feature films, Fellini developed a
suite of television projects whose titles reflect their subjects: Attore, Napoli, LInferno, Lopera lirica, and
LAmerica.

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 Zurich for an angioplasty on his femoral artery[75] but suffered a stroke at the Grand Hotel in
Rimini 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.

Death
Fellini died in Rome on 31 October 1993 at the age of 73, a day after his fiftieth wedding anniversary. The
memorial service was held in Studio 5 at Cinecitt attended by an estimated 70,000 people.[76] At the request of
Giulietta Masina, trumpeter Mauro Maur played the "Improvviso dell'Angelo" by Nino Rota during the funeral
ceremony.[77] Five months later on 23 March 1994, Giulietta Masina died of lung cancer.

Fellini, Masina and their son Pierfederico are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro.
Designed as a ship's prow, the tomb is located at the main entrance to the Cemetery of Rimini. The Federico
Fellini Airport in Rimini is named in his honour.

Religious views
Fellini was raised in a Catholic family, and considered himself a Catholic, although, as an adult, he avoided
formal activity in the Catholic Church. Films by Fellini included Catholic themes: some celebrated Catholic
teachings; whereas others clearly ridiculed such teachings.[78]

Political views
While Fellini was for the most part indifferent to politics,[79] 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".[80] In a 1966 interview, he stated, "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."[81] Despite various famous Italian actors favouring the Communists, Fellini was
not left-wing as it is rumored that he supported Christian Democracy (DC).[82] Although Bondanella reports
that the Christian Democratic party "was far too aligned with an extremely conservative and even reactionary
pre-Vatican II church to suit Fellini's tastes."[80] The director still opposed the '68 Movement, and befriended
Giulio Andreotti.[83] Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred,[84]
Fellini rarely expressed his political views in public and never directed an overtly political film. He also
directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican
Party or PRI.[85] His slogan, "Non si interrompe un'emozione" (Don't interrupt an emotion), was directed
against the excessive use of advertisements in TV. The slogan was also used by the Democratic Party of the
Left in the referendums of 1995.

Influence and legacy

 Personal and highly idiosyncratic visions of society, Fellini's films are a
unique combination of memory, dreams, fantasy and desire. The
adjectives "Fellinian" and "Felliniesque" are "synonymous with any
kind of extravagant, fanciful, even baroque image in the cinema and in
art in general".[6] La Dolce Vita contributed the term paparazzi to the
English language, derived from Paparazzo, the photographer friend of
journalist Marcello Rubini (Marcello Mastroianni).[86]
Dedicatory plaque to Fellini onVia
Veneto, Rome: Contemporary filmmakers such as Tim Burton,[87] Terry Gilliam,[88]
To Federico Fellini, who madeVia Emir Kusturica,[89] and David Lynch,[90] have cited Fellini's influence
Veneto the stage for the "Sweet Life" - on their work.
SPQR - January 20, 1995
Polish director Wojciech Has, whose two best-received films, The
Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973),
are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".[91]

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmller and had an
influence on Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel
Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1987), among many others.[92] When the
American magazine Cinema asked Stanley Kubrick in 1963 to name his favorite films, the film director listed I
Vitelloni as number one in his Top 10 list.[93]

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.

8 inspired among others: Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970),
Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (Franois Truffaut, 1973), All That
Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad
Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo,
1995), 8 Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), along with the successful
Broadway musical, Nine (Maury Yeston and Arthur Kopit, 1982).[94] Yo-Yo Boing! (1998), a Spanish novel by
Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by 8.[95]

Fellinis work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by
Bob Dylan with Motorpsycho Nitemare, Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in
the opening traffic jam of the music video Everybody Hurts by R.E.M.[96] American singer Lana Del Rey has
cited Fellini as an influence.[97] It also influenced two American TV shows, Northern Exposure and Third Rock
from the Sun.[98] Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to
Fellini's work.[99]

Various film related material and personal papers of Fellini are contained in the Wesleyan University Cinema
Archives to which scholars and media experts from around the world may have full access.[100] In October
2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television
interviews, behind-the-scenes photographs, Book of Dreams (based on 30 years of the director's illustrated
dreams and notes), along with excerpts from La dolce vita and 8.[101]

In 2014, the Blue Devils Drum and Bugle Corps of Concord, California performed a show themed around
Fellini's works, entitled "Felliniesque", with which the Blue Devils won a record 16th Drum Corps
International World Class championship with a record score of 99.650.[102] That same year, the weekly
entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward
with the project, The Thousand Miles, based on various works of Fellini including his unpublished drawings
and writings.[103]

Awards
Selected awards and nominations

Rome, Open City (Dir. Roberto Rossellini, 1945)

Oscar nomination for Best Screenplay (with Sergio Amidei)
Pais (Dir. Roberto Rossellini, 1946)
Oscar nomination for Best Screenplay (with Sergio Amidei, Alfred Hayes, Marcello Pagliero, and
Rossellini)
I Vitelloni (1953)
Venice Film Festival Silver Lion
Oscar nomination for Best Screenplay (with Tullio Pinelli, Ennio Flaiano)
La Strada (1954)
Venice Film Festival Silver Lion
Oscar for the Best Foreign Language Film[104]
Oscar nomination for Best Screenplay (with Tullio Pinelli, Ennio Flaiano)
New York Film Critics Award for Best Foreign Film
Screen Directors Guild Award for Best Foreign Film
Nights of Cabiria (1957)
Festival de Cannes Best Actress Award (Giulietta Masina)[105]
Oscar for the Best Foreign Language Film[106]
La Dolce Vita (1960)
Palme d'Or at Festival de Cannes
Oscar Best Costumes in B&W (Piero Gherardi)
Oscar nominations for Best Director, Best Screenplay (with Tullio Pinelli, Ennio Flaiano, Brunello
Rondi), Best Art and Set Direction
New York Film Critics Award for Best Foreign Language Film
National Board of Review citation for Best Foreign Language Film
8 (Otto e Mezzo, 1963)
Moscow International Film Festival Grand Prize[107]
Oscar for Best Foreign Language Film[108]
Oscar for Best Costumes in B&W (Piero Gherardi)
Oscar nomination for Best Director
Oscar nomination for Best Art Direction-Set Decoration in B&W (Piero Gherardi)
Italian National Syndicate of Film Journalists Silver Ribbons for Best Cinematography in B&W
(Gianni Di Venanzo), Best Director (Federico Fellini), Best Original Story (Fellini and Flaiano),
Best Producer (Angelo Rizzoli), Best Score (Nino Rota), Best Screenplay (Fellini, Pinelli, Flaiano,
Rondi), and Best Supporting Actress (Sandra Milo)
Berlin International Film Festival Special Award
BAFTA Film Award nomination for Best Film from any Source
Bodil Award for Best European Film
Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures
New York Film Critics Award for Best Foreign Film
National Board of Review Award for Best Foreign Language Picture
Grolla dOro at Saint Vincent Film Festival for Best Director
Kinema Junpo Award for Best Foreign Language Film & Best Foreign Language Film Director
Juliet of the Spirits (1965)
New York Film Critics Award for Best Foreign Film
National Board of Review Award for Best Foreign Language Story
Golden Globe Award for Best Foreign Language Film
Fellini Satyricon (1969)
Oscar nomination for Best Director[109]
I clowns (1970)
National Board of Review citation for Best Foreign Language Film
Amarcord (1974)
Oscar for Best Foreign Film[110]
Oscar nomination for Best Director
Oscar nomination for Best Writing, Original Screenplay
New York Film Critics Award for Best Direction
 New York Film Critics Award for Best Motion Picture
Fellini's Casanova (1976)
Oscar for Best Costumes (Danilo Donati)
Intervista (1987)
15th Moscow International Film Festival Golden Prize[111]
Festival de Cannes Special 40th Anniversary Prize
The Voice of the Moon (1990)
David di Donatello Awards for Best Actor, Best Production Design, and Best Editing

Distinctions
1964
Grande Ufficiale OMRI[112]
1974
27th Cannes Film Festival Lifetime Achievement Award (with French director Ren Clair)
1985
42nd Venice Film Festival Golden Lion for Lifetime Achievement
Film Society of Lincoln Center Award for Cinematic Achievement
1987
Cavaliere di Gran Croce OMRI[113]
1989
Lifetime Achievement Award - European Film Awards
1990
Japan Art Association's Praemium Imperiale (equivalent of the Nobel Prize in the visual arts)
1993
Oscar for Lifetime Achievement

Filmography
As writer and director

Luci del variet (1950) (co-credited with Alberto Lattuada)

Lo sceicco bianco (1952)
I vitelloni (1953)
L'amore in citt (1953) (segment Un'agenzia matrimoniale)
La strada (1954)
Il bidone (1955)
Le notti di Cabiria (1957)
La Dolce Vita (1960)
Boccaccio '70 (1962) (segment Le tentazioni del Dottor Antonio)
8 (1963)
Giulietta degli spiriti (1965)
Histoires extraordinaires (1968) (segment Toby Dammit, based on Edgar Allan Poe's short story "Never
Bet the Devil Your Head")
Fellini: A Director's Notebook (1969)
Fellini Satyricon (1969)
I clowns (1970)
Roma (1972)
Amarcord (1973)
Il Casanova di Federico Fellini (1976)
Prova d'orchestra (1978)
La citt delle donne (1980)
E la nave va (1983)
Ginger e Fred (1986)
Intervista (1987)
La voce della luna (1990)
Screenplay contributions

Knights of the Desert (1942)

Before the Postman (1942)
The Peddler and the Lady (1943)
L'ultima carrozzella (1943) (dir. Mario Mattoli) Co-scriptwriter
Roma, citt aperta (1945) (dir. Roberto Rossellini) Co-scriptwriter
Pais (1946) (dir. Roberto Rossellini). Co-scriptwriter
Black Eagle (1946) (dir. Riccardo Freda) Co-scriptwriter
Il delitto di Giovanni Episcopo (1947) (dir. Alberto Lattuada) Co-scriptwriter
Senza piet (1948) (dir. Alberto Lattuada) Co-scriptwriter
Il miracolo (1948) (dir. Roberto Rossellini) Co-scriptwriter
Il mulino del Po (1949) (dir. Alberto Lattuada) Co-scriptwriter
Francesco, giullare di Dio (1950) (dir. Roberto Rossellini) Co-scriptwriter
Il Cammino della speranza (1950) (dir. Pietro Germi) Co-scriptwriter
La citt si difende (1951) (dir. Pietro Germi) Co-scriptwriter
Persiane chiuse (1951) (dir. Luigi Comencini) Co-scriptwriter
Il brigante di Tacca del Lupo (1952) (dir. Pietro Germi) Co-scriptwriter
Fortunella (1979) (dir. Eduardo De Filippo) Co-scriptwriter
Lovers and Liars (1979) (dir. Mario Monicelli) Fellini not credited

Television commercials

TV commercial for Campari Soda (1984)

TV commercial for Barilla pasta (1984)
Three TV commercials for Banca di Roma (1992)

Documentaries on Fellini
Ciao Federico (1969). Dir. Gideon Bachmann. (60')
Federico Fellini - un autoritratto ritrovato (2000). Dir. Paquito Del Bosco. (RAI TV, 68')
Fellini: I'm a Born Liar (2002). Dir. Damian Pettigrew. Feature documentary. (ARTE, Eurimages,
Scottish Screen, 102')
How Strange to Be Named Federico (2013). Dir. Ettore Scola.

See also
Art film

References
Notes

1. "The 25 Most Influential Directors of All Time" (http://www.moviemaker.com/archives/moviemaking/dir

ecting/articles-directing/the-25-most-influential-directors-of-all-time-3358/). MovieMaker Magazine.
2. "10 Most Influential Directors Of All Time" (http://whatculture.com/film/10-most-influential-directors-of
-all-time.php/2). WhatCulture.com.
3. Burke and Waller, 12
4. "Federico Fellini" (http://www.imdb.com/name/nm0000019/awards).
5. Alpert, 16
6. Bondanella, The Films of Federico Fellini, 7
7. Burke and Waller, 513
 8. 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
9. Kezich, 17
10. Kezich, 14
11. Alpert, 33
12. Kezich, 31
13. Bondanella, The Films of Federico Fellini, 8
14. Kezich, 55
15. Alpert, 42
16. Kezich, 35
17. "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." Kezich, 48
18. Kezich, 70
19. Kezich, 71
20. Kezich, 74
21. Kezich, 157. Cf. filmed interview with Luigi 'Titta' Benzi in Fellini: I'm a Born Liar (2003).
22. Kezich, 78
23. Kezich, 404
24. Kezich, 114
25. Kezich, 128
26. "Our flexible giant." (http://www.cinecittastudios.it/en/events/special-events/teatro-5). Cinecitt Studios.
Retrieved 20 September 2013.
27. Kezich, 158
28. Kezich, 167
29. Kezich, 168-69
30. Kezich, 177
31. Kezich, 189
32. Alpert, 122
33. Kezich, 208
34. Kezich, 209
35. Kezich, 210
36. Alpert, 145
37. Kezich, 224
38. Kezich, 227
39. Bondanella, Cinema of Federico Fellini, 151-54
40. "Buuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular
kinds of films." In Fellini and Pettigrew, Im a Born Liar: A Fellini Lexicon, 87.
41. One of Cabirias finest moments comes in the movies nightclub scene. It begins when the actors
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 Chaplins City Lights (1931)." Cited in
John C. Stubbs, Federico Fellini as Auteur: Seven Aspects of his Films (Carbondale: Southern Illinois
University Press, 2006), 152-53. 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". Cited in Bondanella, The Cinema of Federico Fellini, 104
42. 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)." Cited in Bondanella (ed), Federico Fellini: Essays in Criticism, 167
43. Bondanella, The Cinema of Federico Fellini, 8
44. 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. Cited in Federico Fellini and Damian Pettigrew, 17-18. 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." In Fellini on Fellini (London: Eyre Methuen, 1976), 99-
100
45. Kezich, 218-219
46. Kezich, 212
47. Affron, 227
48. Alpert, 159
49. Kezich, 234 and Affron, 3-4
50. Alpert, 160
51. Fellini, Comments on Film, 161-62
52. Alpert, 170
53. Kezich, 245
54. A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by
Mexican tribes". Kezich, 255
55. Kezich, 255
56. Fellini and Pettigrew, 91
57. Kezich, 410
58. Bondanella, The Cinema of Federico Fellini, 192
59. Alpert, 224
60. Bondanella, The Cinema of Federico Fellini, 193
61. Alpert, 239
62. Bondanella, The Cinema of Federico Fellini, 265
63. Alpert, 242
64. Bondanella, Federico Fellini: Essays in Criticism, 104
65. Kezich, 413. Also cf. The Warsaw Voice (http://www.warsawvoice.pl/view/13135/)
66. 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.
67. Kezich, 360-61
68. Kezich, 362
69. Burke and Waller, xvi
70. Bondanella, Cinema of Federico Fellini, 330
71. Kezich, 383
72. Kezich, 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 Bjart.
73. Peter Bondanella, Review of Fellini: I'm a Born Liar in Cineaste Magazine (September 22, 2003), 32
74. Kezich, "Forward" in I'm a Born Liar: A Fellini Lexicon, 5. Also cf. Kezich, 388
75. Kezich, 396
76. Kezich, 416
77. "fellini funerali - Basilica di Santa Maria degli Angeli e dei Martiri alle Terme di Diocleziano di Roma"
(http://www.santamariadegliangeliroma.it/paginamastersing.html?codice_url=fellini_funerali&lingua=IT
ALIANO&ramo_home=Eventi). santamariadegliangeliroma.it (in Italian).
78. Staff (September 2, 2005). "The Religious Affiliation of Director Federico Fellini" (http://www.adherent
s.com/people/pf/Federico_Fellini.html). Adherents.com. Retrieved June 28, 2016.
79. Kezich, 45
80. Bondanella, The Films of Federico Fellini, 119
81. Cardullo, Bert, ed. (2006). Federico Fellini: Interviews (https://books.google.com/books?id=ldi9iQtK5q8
C&pg=PA63). Univ. Press of Mississippi. p. 63. ISBN 1578068851.
82. Franco Bianchini (October 31, 2013). "Il Fellini che non vi raccontano: votava Dc, rifiutava il cinema
impegnato ed era contro il 68" (http://www.secoloditalia.it/2013/10/il-fellini-che-non-vi-raccontano-vota
va-dc-rifiutava-il-cinema-impegnato-ed-era-contro-il-68/). Secolo d'Italia (in Italian).
83. Jacopo Iacoboni (March 28, 2012). "Caro Andreotti, caro Fellini l'amicizia tra due arcitaliani" (http://ww
w.lastampa.it/2012/03/28/cultura/caro-andreotti-caro-fellinil-amicizia-tra-due-arcitaliani-7bjQzwOIzU5h
hkHzZABW5J/pagina.html). La Stampa (in Italian).
84. Kezich, 367
85. Unknown (March 18, 1992). "Con DC e PRI, Federico Fellini sponsor di due nemicicon DC e PRI,
Federico Fellini sponsor di due nemici" (http://archiviostorico.corriere.it/1992/marzo/18/con_PRI_Federi
co_Fellini_sponsor_co_0_92031817413.shtml). il Corriere della Sera (in Italian).
86. 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, 136
 87. Tim Burton Collective (http://www.timburtoncollective.com/influences.html) Archived (https://web.archi
ve.org/web/20070616054156/http://www.timburtoncollective.com/influences.html) 2007-06-16 at the
Wayback Machine.. Accessed Sept 17 2008
88. Gilliam at Senses of Cinema (http://archive.sensesofcinema.com/contents/directors/03/gilliam.html).
Accessed Sept 17 2008
89. Kusturica Interview at BNET (http://findarticles.com/p/articles/mi_m1285/is_9_29/ai_55683952).
Accessed Sept 17 2008
90. City of Absurdity Quote Collection (http://www.thecityofabsurdity.com/quotecollection/infl.html).
Accessed Sept 17 2008
91. Gilbert Guez, review of The Saragossa Manuscript in Le Figaro (September, 1966), 23
92. Kezich, 137
93. Ciment, Michel. "Kubrick: Biographical Notes" (http://www.visual-memory.co.uk/amk/doc/milestones.ht
ml) Accessed Dec 23 2009
94. Numerous sources include Affron, Alpert, Bondanella, Kezich, Miller et al.
95. Introduction to Giannina Braschi's Yo-Yo Boing!, Doris Sommer, Harvard University, Latin American
Literary Review Press, 1998.
96. Miller, 7
97. Sciarretto, Amy (20 January 2015). "Lana Del Rey Is Working on New Music and Shared Some Hints
About It" (http://www.artistdirect.com/entertainment-news/article/lana-del-rey-is-working-on-new-music
-and-shared-some-hints-about-it/11313805). Artistdirect. Retrieved 2016-02-16.
98. Burke and Waller, xv
99. "Wes Anderson Honors Fellini in a Delightful New Short Film" (http://www.slate.com/blogs/browbeat/2
013/11/13/wes_anderson_new_short_film_castello_cavalcanti_starring_jason_schwartzman.html). Slate.
November 12, 2013. Retrieved November 12, 2013.
100. "Cinema Archives - Wesleyan University" (http://www.wesleyan.edu/cinema/). wesleyan.edu.
101. Baker, Tamzin. "Federico Fellini (http://www.artinfo.com/news/story/32958/federico-fellini/)." Modern
Painters, November 2009.
102. "2014 DCI Champions" (http://halftimemag.com/articles/09-2014/09-2014-features/2014-dci-champions.
html), Halftime Magazine, Sept/Oct 2014.
103. "Sylvain Chomet Steps Up for The Thousand Miles in Variety (http://variety.com/2014/film/news/sylvain
-chomet-steps-up-for-the-thousand-miles-1201219944/)
104. "The 29th Academy Awards (1957) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1
957). oscars.org. Retrieved 2011-10-24.
105. "Festival de Cannes: Nights of Cabiria" (http://www.festival-cannes.com/en/archives/ficheFilm/id/3550/y
ear/1957.html). festival-cannes.com. Retrieved 2009-08-02.
106. "The 30th Academy Awards (1958) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1
958). oscars.org. Retrieved 2011-10-25.
107. "3rd Moscow International Film Festival (1963)" (https://web.archive.org/web/20130116210707/http://w
ww.moscowfilmfestival.ru/miff34/eng/archives/?year=1963). MIFF. Archived from the original (http://w
ww.moscowfilmfestival.ru/miff34/eng/archives/?year=1963) on 2013-01-16. Retrieved 2012-11-26.
108. "The 36th Academy Awards (1964) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1
964). oscars.org. Retrieved 2011-11-03.
109. "The 43rd Academy Awards (1971) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1
971). oscars.org. Retrieved 2011-11-26.
110. "The 47th Academy Awards (1975) Nominees and Winners" (http://www.oscars.org/oscars/ceremonies/1
975). oscars.org. Retrieved 2011-12-10.
111. "15th Moscow International Film Festival (1987)" (https://web.archive.org/web/20130116194338/http://
www.moscowfilmfestival.ru/miff34/eng/archives/?year=1987). MIFF. Archived from the original (http://
www.moscowfilmfestival.ru/miff34/eng/archives/?year=1987) on January 16, 2013. Retrieved
2013-02-18.
112. web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le
onorificenze della Repubblica Italiana" (http://www.quirinale.it/elementi/DettaglioOnorificenze.aspx?dec
orato=259746).
113. web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le
onorificenze della Repubblica Italiana" (http://www.quirinale.it/elementi/DettaglioOnorificenze.aspx?dec
orato=15241).
Bibliography

Primary sources

Fellini, Federico (1988). Comments on Film. Ed. Giovanni Grazzini. Trans. Joseph Henry. Fresno: The Press of
California State University at Fresno.
(1993). I disegni di Fellini. Ed. Pier Marco De Santi. Roma: Editori Laterza.
and Damian Pettigrew (2003). I'm a Born Liar: A Fellini Lexicon. New York: Harry N. Abrams, Inc. ISBN 0-
8478-3135-3
and Tullio Pinelli. Trip to Tulum. Trans. Stefano Gaudiano and Elizabeth Bell. New York: Catalan
Communications.
(2015). Making a Film. Trans. Christopher Burton White. Autobiographical Essay by Italo Calvino. New
York: Contra Mundum Press.

Secondary sources

Alpert, Hollis (1988). Fellini: A Life. New York: Paragon House. ISBN 1-55778-000-5
Bondanella, Peter (ed.)(1978). Federico Fellini: Essays in Criticism. New York: Oxford University Press. ISBN
0-19-502274-2
(1992). The Cinema of Federico Fellini. Princeton University Press. ISBN 0-691-00875-2
(2002). The Films of Federico Fellini. Cambridge: Cambridge University Press.ISBN 9780521575737.
Burke, Frank, and M. R. Waller (2003). Federico Fellini: Contemporary Perspectives. Toronto: University of
Toronto Press. ISBN 0-8020-7647-5
Kezich, Tullio (2006). Federico Fellini: His Life and Work. New York: Faber and Faber. ISBN 978-0-571-21168-5
Miller, D. A. (2008). 8. Hampshire: Palgrave Macmillan.

Further reading
General

Angelucci, Gianfranco (2014). Giulietta Masina, attrice e sposa di Federico Fellini (Ill., 200 pp.). Roma:
Edizioni Sabinae - Centro Sperimentale di Cinematografia.
Arpa, Angelo (2010). La dolce vita di Federico Fellini. Roma: Edizioni Sabinae.
Ashough, Jamshid (2016). L'Enigma di un Genio, capire il linguaggio di Federico Fellini (Ill., 464 pp.).
Pescara: Edizioni Ass. Cult. Zona Franca
Bertozzi, Marco, Giuseppe Ricci, and Simone Casavecchia (eds.)(20022004). BiblioFellini. 3 vols.
Rimini: Fondazione Federico Fellini.
Betti, Liliana (1979). Fellini: An Intimate Portrait. Boston: Little, Brown & Co.
Bondanella, Peter (ed.)(1978). Federico Fellini: Essays in Criticism. New York: Oxford University Press.
Cianfarani, Carmine (ed.) (1985). Federico Fellini: Leone d'Oro, Venezia 1985. Rome: Anica.
Fellini, Federico (2008). The Book of Dreams. New York: Rizzoli. ISBN 0847831353 .
Merlino, Benito (2007). Fellini. Paris: Gallimard.ISBN 9782070335084 .
Minuz, Andrea (2015, translation by Marcus Perryman). Political Fellini: Journey to the End of Italy .
Berghahn Books.
Panicelli, Ida, and Antonella Soldaini (ed.)(1995). Fellini: Costumes and Fashion. Milan: Edizioni
Charta. ISBN 88-86158-82-3 .
Perugini, Simone (2009). Nino Rota e le musiche per il Casanova di Federico Fellini. Roma: Edizioni
Sabinae.
Rohdie, Sam (2002). Fellini Lexicon. London: BFI Publishing.
Scolari, Giovanni (2009). L'Italia di Fellini. Roma: Edizioni Sabinae.
Tornabuoni, Lietta (1995). Federico Fellini. Preface Martin Scorsese. New York: Rizzoli.
Walter, Eugene (2002). Milking the Moon: A Southerner's Story of Life on This Planet. Ed. Katherine
Clark. New York: Three Rivers Press. ISBN 0-609-80965-2 .

External links
 Fellini Foundation Official Rimini web site (in Italian)
Fondation Fellini pour le cinma Swiss web site (in French)
Federico Fellini on IMDb
Federico Fellini at the TCM Movie Database
Works by or about Federico Fellini in libraries (WorldCat catalog)
Federico Fellini biography on Lambiek Comiclopedia

Retrieved from "https://en.wikipedia.org/w/index.php?title=Federico_Fellini&oldid=794901734"

This page was last edited on 10 August 2017, at 18:47.

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may
apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia is a registered
trademark of the Wikimedia Foundation, Inc., a non-profit organization.