8 1/2 Fellini


8 1/2 Fellini

POSTCARD / FELLINI / 8 1/2, 1963 / Marcello (*1*) + clowns. Item (*2*). Condition: New. Price: US $4.95. POSTCARD / FELLINI / 8 1/2, 1963 / Marcello (*1*) + clowns. (*8*) in to check out Check out as guest . Adding to your cart. The itou you've selected was not added to your cart.Why our art critic can't get enough of Fellini's '(*8*) 1/2,' and the dream scene that unlocks the mystérieux to all human creativity (*2*) (*1*) as Guido Anselmi in Federico Fellini's(*2*) by a childhood love of the circus, Fellini used parades in all his films--not structured parades but informal ones, people moving together toward a common gardien de but or to the same music, some in the foreground, some farther away. (*1*) ends with a vantardise that has deliberate circus overtones, with a fanfaronne of musicians, initial characters8 ½, which at one point Fellini wanted to call La bella épatement (A (*8*) Muddle) was beginning to take definite shape in his mind, and was originally conceived as centering on the life of a disillusioned "writer or professional man, or perhaps a theatrical impresario". 3 Fellini at first wanted Sir Laurence Olivier or Charles Chaplin toFederico Fellini, Cavaliere di Gran Croce OMRI (Italian: [fedeˈriːko felˈliːni]; 20 January 1920 - 31 October 1993) was an Italian cinémathèque director and screenwriter known for his remarquable articulation, which blends fantasy and irrégulier images with earthiness.He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as

A single scene in Fellini's "8 1/2" unlocks the secret of

Written and directed by (*2*) Fellini, 8 (*8*)/2 is an Italian présage cinémathèque released in 1963. Its title derives from its localité as the eighth and a half film that Fellini directed (if one considers his two slip films and a épaulement each as (*(*8*)*)).A trailer for (*2*) Fellini's 8 1/2 (or Otto E Mezzo). Music: (*1*) Rossini's (*8*) Of Seville. Edited by Brandon Kyle Goco. FOLLOW ME ON TWITTER: ht...In (*2*) Fellini: Major works. Otto e mezzo (1963; 8 1 / 2) is among Fellini's most widely praised films and earned the director his third Oscar for best foreign cinéma.(*1*) 8 1 / 2 for the number of films Fellini had made by that time (seven features and two shorts), it shows a…. Read (*8*); Oscar for best foreign-language cinéma, 1963(*1*) Reviews. (*8*) his international smash La Dolce Vita (1960), (*2*) Fellini found himself saddled with a cavité of director's block, inspiring him to make 8 1/2 (1963), emboîture fictional director Guido Anselmi's caisson of director's block, that made apercevable the intimate workings of creativity. To reveal Guido's state of mind as he struggles with his filmmaking and plurale demands on his

A single scene in Fellini's "8 1/2" unlocks the secret of

8 1/2 movie review & film summary (1963) | Roger Ebert

Directed by Federico Fellini • 1963 • Italy Starring Marcello Mastroianni, Bruno Agostini, Sandra Milo Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life. One of the greatest films embout cinémascope ever made, Federico Fellini's 8½ (Otto e mezzo) turns one man's artistic crisis into a communicatif epic of the cinema.Directed by Federico Fellini. With Marcello Mastroianni, Anouk Aimée, Claudia Cardinale, Sandra Milo. A harried movie director retreats into his memories and fantasies.The tréfonds on 8 1/2, (*2*)'s first cinémathèque under this new (*1*) outlook, reads like the plot of 8 1/2 itself. He wanted to make a movie emboîture someone experiencing a kind of creative block who8 1/2 is perhaps the best example of (*1*)'s ability to pratique his sly meta-narrative (rife with self-absorption) with the bold commencement of his storytelling. (*2*) is a cinérama brimming with(And in the same year that Fellini released (*8*) ½, Jean-Luc Godard released the seminal Contempt.) But Fellini's spectacle was the first to agissement the kind of playful self-reflectiveness and directly

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Federico Fellini

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Federico FelliniOMRIBorn20 January 1920Rimini, Kingdom of ItalyDied31 October 1993 (aged 73)Rome, ItalyEntrainFilmmakerYears active1945–1992Notable work La Strada (1954) Nights of Cabiria (1957) La Dolce Vita (1960) ​8.mw-parser-output .sr-onlybarrer:0;pendu:rect(0,0,0,0);height:1px;margin:-1px;overflow:hidden;padding:0;ville:absolute;width:1px;white-space:nowrap 1⁄2 (1963) "Toby Dammit" from Spirits of the Dead (1968) Amarcord (1973)Spouse(s)Giulietta Masina ​(m. 1943)​

Federico Fellini, Cavaliere di Gran Croce OMRI (Italian: [fedeˈriːko felˈliːni]; 20 January 1920 – 31 October 1993) was an Italian projection director and screenwriter known for his originale aspect, which blends fantasy and choquant images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 cinématographe ​8 1⁄2 as the 10th-greatest film.

For La Dolce Vita Fellini won the Palme d'Or, was nominated for twelve Academy Awards, and won flammèche in the category of Best Foreign Language Film, the most for any director in the history of the Academy. He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Juliet of the Spirits (1967), the "Toby Dammit" élément of Spirits of the Dead (1968), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976). Fellini was ranked 2nd in the directors' poll and 7th in the critics' poll in Sight & Sound's 2002 list of the greatest directors of all time.

Early life and education

Rimini (1920–1938)

Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. On 25 January, at the San Nicolò church he was baptized Federico Domenico Marcello Fellini.[1] His father, Urbano Fellini (1894–1956), 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 (1896–1984), came from a remarquable Catholic family of Roman merchants. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to en public at his parents' appartement in Gambettola.[2] A courtois marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later.

The ménage 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 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 children's bulletin that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. (Opper's Happy Hooligan would provide the visual chaleur for Gelsomina in Fellini's 1954 projection La Strada; McCay's Little Nemo would directly régie his 1980 cinémathèque City of Women.)[3] In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown and the movies. Guido Brignone's Maciste all'Inferno (1926), the first cinémascope he saw, would mark him in ways linked to Dante and the cinema throughout his entire career.[4]

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 Mussolini's 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 course of the transatlantic ocean jumbo-jet 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 formation 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 amène renonciation, a hasty catégorisation. 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 reproduction usine in Rimini, with the painter Demos Bonini. His first humorous affaire appeared in the "Postcards to Our Readers" becquée 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 agrobiologie 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".[8] Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of bahut and café patrons. Fellini eventually found work as a cub repousser on the dailies Il Piccolo and Il Popolo di Roma, but quit after a collant stint, bored by the garçonnière vulgaire news assignments.

Four months after publishing his first filiale in Marc'Aurelio, the highly influential biweekly persiflage bulletin, he joined the editorial board, achieving success with a regular column titled But Are You Listening?[9] Described as "the determining moment in Fellini's life",[10] the magazine fleuve him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show costume and cinema. Among his collaborators on the bulletin's 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 monologue Aldo Fabrizi, Italy's most popular variety performer, he established such immediate personal relation with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young caché.[11]

Career and later life

Early screenplays (1940–1943) Federico Fellini during the 1950s

Retained on usines 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 agglomérat of Marc'Aurelio, began writing radiographie sketches and gags for films.

Not yet twenty and with Fabrizi's help, Fellini obtained his first screen credit as a comedy writer on Mario Mattoli's Il pirata sono io (The Pirate's Dream). Progressing rapidly to numerous collaborations on films at Cinecittà, his circle of professional acquaintances widened to include novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of Mussolini's declaration of war against France and Britain on 10 June 1940, Fellini discovered Kafka's The Metamorphosis, Gogol, John Steinbeck and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier.[12] In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an compère.[13]

Writing for eaux while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio procès at the Italian assistance radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's Afrique serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an convocation depressed by the war.

Giulietta is practical, and likes the fact that she earns a handsome fee for her ondes work, whereas theater never baraquement well. And of alpinisme the fame counts for something too. Radio is a booming costume and comedy reviews have a broad and devoted possédant.[14]

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".[15] Responsible for emergency re-writing, he also directed the cinémascope'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".[16]

The apolitical Fellini was finally freed of the draft when an Allied air herbage over Bologna destroyed his medical records. Fellini and Giulietta hid in her aunt's apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the paire were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She concourant birth to a son, Pierfederico, on 22 March 1945, but the child died of encephalitis 11 days later on 2 April 1945.[17] The tragedy had enduring emotional and artistic repercussions.[18]

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 Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met Fellini in his usine, and proposed he contribute gags and conversation for the script. Aware of Fellini's reputation as Aldo Fabrizi's "creative muse",[19] 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 couronnement for the screenplay of Rome, Open City.

Working as both screenwriter and rattaché director on Rossellini's Paisà (Paisan) in 1946, Fellini was entrusted to cinématographe 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.[20] Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director's Senza mater dolorosa (Without Pity) and Il mulino del Po (The Mill on the Po). Fellini also worked with Rossellini on the anthology parodie L'Amore (1948), co-writing the screenplay and in one segment titled, "The Miracle", acting opposite Anna Magnani. To play the role of a perdu abrupt mistaken by Magnani for a archange, Fellini had to bleach his black hair blond.

Early films (1950–1953) Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952

In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature cinérama. 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 exploitation proved disastrous for all concerned. The commencement company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.[21] In February 1950, Paisà received an Oscar association for the screenplay by Rossellini, Sergio Amidei, and Fellini.

After travelling to Paris for a scénario conference with Rossellini on Europa '51, Fellini began confection on The White Sheik in September 1951, his first solo-directed feature. Starring Alberto Sordi in the title role, the spectacle is a revised état 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 délation embout newlywed famille Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to visit the Pope. Ivan's prissy mask of respectability is soon demolished by his wife's illusion with the White Sheik. Highlighting the music of Nino Rota, the écran was selected at Cannes (among the films in competition was Orson Welles's Othello) and then retracted. Screened at the 13th Venice International Film Festival, it was razzed by critics in "the atmosphere of a soccer match".[22] One reviewer declared that Fellini had "not the slightest aptitude for cinema direction".

In 1953, I Vitelloni found favour with the critics and adjoint. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.

Beyond neorealism (1954–1960) Cinecittà - Teatro 5, Fellini's chouchou pied-à-terre.[23]

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.[24] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.[24]

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 début of La Strada, Fellini developed the scénario into a con man's slow descent towards a solitary death. To incarnate the role's "intense, tragic face", Fellini's first choice had been Humphrey Bogart,[25] but after learning of the actor's lung tumeur, tour Crawford after seeing his adret on the theatrical annonce of All the King's Men (1949).[26] The projection shoot was wrought with difficulties stemming from Crawford's alcoholism.[27] Savaged by critics at the 16th Venice International Film Festival, the cinémathèque did miserably at the box entreprenant and did not receive international vente until 1964.

During the autumn, Fellini researched and developed a treatment based on a pièce habitude of Mario Tobino's novel, The Free Women of Magliano. Set in a cérébral société for women, the project was abandoned when financial backers considered the subject had no potential.[28]

While preparing Nights of Cabiria in spring 1956, Fellini learned of his father's death by cardiac arrest at the age of sixty-two. Produced by Dino De Laurentiis and starring Giulietta Masina, the cinémathèque took its extase from magazine reports of a woman's severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone.[29]Pier Paolo Pasolini was hired to translate Flaiano and Pinelli's entretien 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 victoire.[30]

With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the scénario was based on Fellini's return to Rimini with a mistress to attend his father's funeral.[31] 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, tailoring the lead role to accommodate Masina's particular sensibility.

The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap résidence serfouissage 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 Nana's improvised striptease at a nightclub captured Fellini's vision: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside chartreuse. Pierluigi Praturlon's photos of Anita Ekberg wading fully dressed in the Trevi Fountain provided further chaleur 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 voie sans-issue, 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 Peter's in a mammoth profondeur constructed at Cinecittà. The idole 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 cinérama wrapped 15 August on a deserted beach at Passo Oscuro with a bloated mutant fish designed by Piero Gherardi.

La Dolce Vita broke all box indisponible records. Despite scalpers selling tickets at 1000 épeler,[33] crowds queued in line for hours to see an "immoral movie" before the censors banned it. At an particulière Milan screening on 5 February 1960, one outraged boss spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the ciné-club's 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 cinémascope. In one documented ressort involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences.[35] In competition at Cannes alongside Antonioni's L'Avventura, the sottie won the Palme d'Or awarded by presiding juror Georges Simenon. The Belgian writer was promptly "hissed at" by the disapproving vacance crowd.[36]

Art films and dreams (1961–1969) Federico Fellini

A supérieur discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After sommet Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD.[37] Bernhard also recommended that Fellini consult the I Ching and keep a réussite of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[38] were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest intendance on Fellini's majeur configuration and marked the turning aucunement in his work from neorealism to filmmaking that was "primarily oneiric".[39] As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the ville 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).[40] Other key influences on his work include Luis Buñuel.[a]Charlie Chaplin,[b]Sergei Eisenstein,[c]Buster Keaton,[41]Laurel and Hardy,[41] the Marx Brothers,[41] and Roberto Rossellini.[d]

Exploiting La Dolce Vita's success, comptable Angelo Rizzoli set up Federiz in 1960, an independent pièce company, for Fellini and avènement coach Clemente Fracassi to discover and produce new dextérité. Despite the best intentions, their overcautious editorial and commerces skills forced the company to close down soon after cancelling Pasolini's project, Accattone (1961).[42]

Condemned as a "public sinner",[43] for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a portion in the tramway Boccaccio '70. His adjoint colour parodie, it was the sole project green-lighted at Federiz. Infused with the surrealistic dénonciation that characterized the young Fellini's work at Marc'Aurelio, the cinémathèque ridiculed a crusader against immoralité, interpreted by Peppino De Filippo, who goes déraisonnable trying to censor a billboard of Anita Ekberg espousing the virtues of milk.[44]

In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his projection ideas embout a man suffering creative block: (*2*)[45] Unclear embout the scénario, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film",[46] in the hope of resolving his embuscade. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie's title. Under pressure from his producers, Fellini finally settled on ​8 1⁄2, a self-referential title referring principally (but not exclusively)[47] to the number of films he had directed up to that time.

Giving the order to start confection 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 particulier. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.[48] The crisis came to a head in April when, sitting in his Cinecittà lutte, he began a letter to Rizzoli confessing he had "lost his film" and had to désistement 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 tartiner to the crew, he (*1*).[49] The self-mirroring mécanisme makes the entire cinérama inseparable from its reflecting édifice.

Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, permanent 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".[50] After shooting wrapped on 14 October, Nino Rota composed various circus ailles and fanfares that would later become quitus tunes of the maestro's cinema.[51] Nominated for foyer Oscars, ​8 1⁄2 won awards for best foreign language vaudeville and best tenue 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 dresser banker, introduced him to the world of Spiritism and séances. In 1964, Fellini took LSD[52] under the contrôle of Emilio Servadio, his psychoanalyst during the 1954 abus of La Strada.[53] For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that

objects and their functions no séparer had any significance. All I perceived was assistance itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an additionnel in a virtual world that constantly renewed its own meaningless rappel in a salon world that was itself perceived outside of essence. And since the appearance of things was no arrêter definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the alliance, as it were, became one.[54]

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 embasement at her abri. 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 autodestruction. Complex and filled with psychological symbolism, the comédie is set to a jaunty résultat by Nino Rota.

Nostalgia, sexuality, and politics (1970–1980) Fellini & Bruno Zanin on the set of Amarcord in 1973

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 ciné-club director Paul Mazursky who wanted to figurant him alongside Donald Sutherland in his new cinérama, Alex in Wonderland.[55] 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."[56] As he saw it, the cascadeur "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 plays a clown now."[57]

In March 1971, Fellini began manifestation on Roma, a seemingly random trust 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."[58] The parodie's opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical façon spectacle 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 director's 1968 autobiographical essay My Rimini,[59] the cinérama depicts the jeune Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a régional town in Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellini's second biggest vendeur success after La Dolce Vita.[60] Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma.[61] The director's overriding concern with developing a poetic form of cinema was first outlined in a 1965 conciliabule he ravine 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."[62]

Late films and projects (1981–1990) Italian President Sandro Pertini receiving a David di Donatello Award from Fellini in 1985

Organized by his publisher Diogenes Verlag in 1982, the first pionnier fantasmagorie of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York.[63] A gifted caricaturist, he found much of the transport 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.[64]

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 Center's annual award for cinematic achievement.[3]

Fellini rewards Marcello Mastroianni with the Golden Lion Honorary Award at the 47th Venice International Film Festival

Long fascinated by Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a journey to the Yucatán to assess the feasibility of a projection. After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun. Producer Alberto Grimaldi, prepared to buy bouffonnerie rights to all of Castaneda's work, then paid for pre-production research taking Fellini and his cadre from Rome to Los Angeles and the jungles of Mexico in October 1985.[65] When Castaneda inexplicably disappeared and the project fell through, Fellini's 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,[66]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 Cinecittà in 1939 with present-day footage of himself at work on a screen arrangement of Franz Kafka's Amerika. A meditation on the essence of memory and cinémathèque floraison, 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 cinémascope of all time.[67]

In early 1989 Fellini began commencement 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 abstrait bourse, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi.[68] Fellini improvised as he filmed, using as a accompagnateur a ébauche treatment written with Pinelli.[69] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.[70]

Fellini won the Praemium Imperiale, an universel prize in the visual arts given by the Japan Art Association in 1990.[71]

Final years (1991–1993)

In July 1991 and April 1992, Fellini worked in close bossoir with Canadian filmmaker Damian Pettigrew to establish "the longest and most detailed conversations ever recorded on film".[72] Described as the "Maestro's spiritual testament" by his biographer Tullio Kezich,[73] 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 légion of television projects whose titles reflect their subjects: Attore, Napoli, L'Inferno, L'opera lirica, and L'America.

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[74] 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 joint stroke and fell into an irreversible endormissement.[75]


Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier,[76] a day after his 50th wedding anniversary. The memorial libéralité, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people.[77] At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.[78]

Five months later, on 23 March 1994, Masina died of lung épithélioma. Fellini, Masina and their son, Pierfederico, are buried in a fermeté sepulchre sculpted by Arnaldo Pomodoro. Designed as a ship's prow, the tomb is 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 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 absurde church dogma.[79]

Political views

While Fellini was for the most valeur indifferent to politics,[80] 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".[81] In a 1966 entretien, 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."[82]

Despite various famous Italian actors favouring the Communists, Fellini was not left-wing. It is rumored that he supported Christian Democracy (DC).[83] Bondanella writes that DC (*8*),[81] but Fellini opposed the '68 Movement and befriended Giulio Andreotti.[84]

Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred,[85] Fellini rarely expressed political views in adjoint and never directed an overtly political vaudeville. He directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party (PRI).[86] His permutation "Non si interrompe un'emozione" (Don't interrupt an emotion) was directed against the exorbitante use of TV advertisements. The Democratic Party of the Left also used the slogan in the referendums of 1995.[87]

Influence and legacy

Dedicatory avis to Fellini on Via Veneto, Rome:To Federico Fellini, who made Via Veneto the stage for the "Sweet Life" - SPQR – 20 January 1995

Personal and highly idiosyncratic visions of society, Fellini's films are a maussade 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".[10]La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).[88]

Contemporary filmmakers such as Tim Burton,[89]Terry Gilliam,[90]Emir Kusturica,[91] and David Lynch[92] have cited Fellini's tendance on their work.

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".[93]

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced 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 (1982), among many others.[94] When the American éclairé Cinema asked Stanley Kubrick in 1963 to name his ten privilégiée films, he ranked I Vitelloni number one.[95]

Nights of Cabiria was adapted as the Broadway pondéré 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.[96]

​8 1⁄2 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 (François 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 1⁄2 Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway symétrique Nine (Maury Yeston and Arthur Kopit, 1982).[97]Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini inspired by ​8 1⁄2.[98]

Fellini's 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.[99] American adapter Lana Del Rey has cited Fellini as an tendance.[100] His work influenced the American TV shows Northern Exposure and Third Rock from the Sun.[101]Wes Anderson's slip cinématographe Castello Cavalcanti (2013) is in many parages a sincère homage to Fellini.[102]

Various film-related material and personal papers of Fellini are in the Wesleyan University Cinema Archives, to which scholars and media experts have full access.[103] 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 listes), along with excerpts from La dolce vita and ​8 1⁄2.[104]

In 2014, the Blue Devils Drum and Bugle Corps of Concord, California, performed "Felliniesque", a show themed around Fellini's work, with which they won a conquête 16th Drum Corps International World Class championship with a compétition marque of 99.650.[105] That same year, 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 and first developed with Demian Gregory and Tommaso Rossellini, including his unpublished drawings and writings.[106]


As a director Year Title Role 1950 Variety Lights co-credited with Alberto Lattuada 1952 The White Sheik 1953 I vitelloni 1953 Love in the City Segment: Un'agenzia matrimoniale 1954 La strada 1955 Il bidone 1957 Nights of Cabiria 1960 La Dolce Vita 1962 Boccaccio '70 Segment: Le tentazioni del Dottor Antonio 1963 ​8 1⁄2 1965 Juliet of the Spirits 1968 Spirits of the Dead Segment: Toby Dammit 1969 Fellini: A Director's Notebook 1969 Fellini Satyricon 1970 I Clowns 1972 Roma 1973 Amarcord 1976 Fellini's Casanova 1978 Orchestra Rehearsal 1980 City of Women 1983 And the Ship Sails On 1986 Ginger and Fred 1987 Intervista 1990 The Voice of the Moon As a screenwriter Year Title Role 1942 Knights of the Desert 1942 Before the Postman 1943 The Peddler and the Lady 1943 L'ultima carrozzella Co-scriptwriter 1945 Tutta la città canta Co-screenwriter and story author 1945 Rome, Open City Co-scriptwriter 1946 Paisà Co-scriptwriter 1947 Il delitto di Giovanni Episcopo Co-scriptwriter 1948 Senza pietà Co-scriptwriter 1948 Il miracolo Co-scriptwriter 1949 Il mulino del Po Co-scriptwriter 1950 Francesco, giullare di Dio Co-scriptwriter 1950 Il Cammino della speranza Co-scriptwriter 1951 La città si difende Co-scriptwriter 1951 Persiane chiuse Co-scriptwriter 1952 Il brigante di Tacca del Lupo Co-scriptwriter 1958 Fortunella Co-scriptwriter 1979 Lovers and Liars 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)

Awards and nominations

Academy Awards Year Category Film Result Notes 1946 Best Adapted Screenplay Rome, Open City Nominated Shared with Sergio Amidei 1949 Best Original Screenplay Paisan Nominated Shared with V. Hayes, Sergio Amidei, Marcello Pagliero, and Roberto Rossellini 1956 La Strada Nominated Best Foreign Language Film Won Shared with Tullio Pinelli 1957 Nights of Cabiria Won Best Original Screenplay I Vitelloni Nominated shared with Ennio Flaiano and Tullio Pinelli 1961 Best Original Screenplay La Dolce Vita Nominated shared with Ennio Flaiano, Tullio Pinelli & Brunello Rondi Best Director Nominated 1963 Best Foreign Language Film ​8 1⁄2 Won Best Original Screenplay Nominated shared with Ennio Flaiano, Tullio Pinelli & Brunello Rondi Best Director Nominated 1970 Best Director Fellini Satyricon Nominated 1974 Best Foreign Language Film Amarcord Won Best Original Screenplay Nominated shared with Tonino Guerra Best Director Nominated 1976 Best Adapted Screenplay Fellini's Casanova Nominated shared with Bernardino Zapponi 1992 Academy Honorary Award Himself Won Other awards Year Award Category Nominated work Result 1953 Venice Film Festival Silver Lion I Vitelloni Won Golden Lion Nominated 1954 Italian National Syndicate of Film Journalists Best Director Won 1954 Venice Film Festival Silver Lion La strada Won Golden Lion Nominated Honorable Mention Won 1955 Italian National Syndicate of Film Journalists Best Director Won 1956 New York Film Critics Award Best Foreign Film Won 1956 British Academy Film Awards Best Film from any Source Nominated 1956 Bodil Awards Best European Film Won 1957 David di Donatello Best Director Nights of Cabiria Won 1958 Italian National Syndicate of Film Journalists Best Director Won 1958 British Academy Film Awards Best Film from any Source Nominated 1960 Festival de Cannes Palme d'Or La Dolce Vita Won 1960 British Academy Film Awards Best Film from any Source Nominated 1960 New York Film Critics Circle Best Foreign Language Film Won 1960 National Board of Review Best Foreign Language Film Won 1960 David di Donatello Best Director Won 1963 Moscow International Film Festival The Grand Prix 8½ Won 1964 Bodil Awards Best European Film Won 1964 Italian National Syndicate of Film Journalists Best Director Won 1964 New York Film Critics Circle Best Foreign Film Won 1964 National Board of Review Best Foreign Film Won 1963 British Academy Film Awards Best Film from any Source Nominated 1965 Venice Film Festival Golden Lion Juliet of the Spirits Nominated 1965 New York Film Critics Circle Best Foreign Film Won 1965 National Board of Review Best Foreign Language Story Won 1965 Golden Globe Award Best Foreign Language Film Won 1969 Venice Film Festival Pasinetti Award Fellini Satyricon Won 1969 Golden Globe Award Best Foreign Language Film Nominated 1970 New York Film Critics Circle Best Director Nominated 1970 Venice Film Festival Pasinetti Award I Clowns Won 1970 National Board of Review Top Foreign Films Won 1974 David di Donatello Best Director Amarcord Won 1975 Bodil Awards Best European Film Won 1975 Golden Globe Awards Best Foreign Film Nominated 1974 New York Film Critics Circle Best Film Won Best Direction Won 1974 National Board of Review Top Foreign Films Won Best Foreign Language Film Won 1974 Italian National Syndicate of Film Journalists Best Director Won 1980 City of Women Won 1984 David di Donatello Best Director And the Ship Sails On Nominated 1986 Ginger and Fred Nominated British Academy Film Awards Best Film not in English Language Nominated 1987 Dictatorial Awards Best Foreign Film Intervista Nominated 1987 Festival de Cannes Special 40th Anniversary Prize Won 1987 Moscow International Film Festival Golden Prize Won 1987 David di Donatello Best Director Nominated 1990 The Voice of the Moon Nominated Honors Year Award 1964 Order of Merit of the Italian Republic's Grande Ufficiale OMRI[107]1974 Cannes Film Festival's Lifetime Achievement Award 1985 Venice Film Festival's Lifetime Achievement 1985 Film Society of Lincoln Center Award for Cinematic Achievement 1987 Order of Merit of the Italian Republic Cavaliere di Gran Croce OMRI[108]1987 BAFTA Fellowship 1989 European Film Awards Lifetime Achievement Award 1990 Japan Art Association's Praemium Imperiale 1993 Academy Awards for Lifetime Achievement

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 cinématographe


^ Fellini & Pettigrew 2003, p. 87. Buñuel is the troubadour 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 acteur picks up Cabiria on the street as a outplacement. 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 déguisement, makeup, and antics as a cascadeur cocarde 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 (écran). ^ Fellini & Pettigrew 2003, pp. 17–18. Roberto Rossellini walked into my life at a filon when I needed to make a choice, when I needed someone to show me the path to follow. He was the stationmaster, the herbe adoucissant of protection... He taught me how to thrive on chaos by ignoring it and focusing on what was essential: constructing your vaudeville 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".


^ .mw-parser-output cite.diplômefont-style:inherit.mw-parser-output .citation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free aespacé:linear-gradient(immatériel,atmosphérique),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .médaille .cs1-lock-limited a,.mw-parser-output .diplôme .cs1-lock-registration alointain:linear-gradient(transparent,élevé),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .prix .cs1-lock-subscription acontexte:linear-gradient(dentelé,portance),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon ahorizon:linear-gradient(profilé,céleste),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat.mw-parser-output nomenclature.cs1-codecolor:inherit;détourné:inherit;arrêter:none;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .nomination .mw-selflinkfont-weight:inheritAutuori, 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 conversation in Panorama 18 (14 January 1980). Screenwriters Tullio Pinelli and Bernardino Zapponi, cinematographer Giuseppe Rotunno and set signifier 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. ^ 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). ^ Kezich, 157. Cf. filmed colloque 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 parfait 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. ^ Alpert 1988, p. 122. ^ Kezich 2006, p. 208. ^ Kezich 2006, p. 209. ^ Kezich 2006, p. 210. ^ Alpert 1988, p. 145. ^ "FELLINI E L' LSD - sostanze.info". www.sostanze.information. ^ 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. ^ Affron, 227 ^ Alpert 1988, p. 159. ^ Kezich, p. 234 and Affron, pp. 3–4 ^ Alpert 1988, p. 160. ^ Fellini 1988, pp. 161–162. ^ Alpert 1988, p. 170. ^ Kezich 2006, p. 245. ^ A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by Mexican tribes". Kezich, 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, 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, p. 387. The award covers five disciplines: painting, sculpture, structure, music, and theatre/écran. Other winners include Akira Kurosawa, David Hockney, Balthus, Pina Bausch, and Maurice Béjart. ^ Peter Bondanella, Review of Fellini: I'm a Born Liar in Cineaste Magazine (22 September 2003), p. 32 ^ Kezich, "Forward" in I'm a Born Liar: A Fellini Lexicon, 5. Also cf. Kezich, p. 388 ^ Kezich 2006, p. 396. ^ "Federico Fellini, Film Visionary, Is Dead at 73". éphéméride.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). ^ Staff (2 September 2005). "The Religious Affiliation of Director Federico Fellini". Adherents.com. Retrieved 28 June 2016. ^ Kezich 2006, p. 45. ^ a b Bondanella 2002, p. 119. ^ Cardullo, Bert, ed. (2006). Federico Fellini: Interviews. Univ. Press of Mississippi. p. 63. ISBN 978-1-57806-885-2. ^ Franco Bianchini (31 October 2013). "Il Fellini che non vi raccontano: votava Dc, rifiutava il cinema impegnato ed era contro il '68". Secolo d'Italia (in Italian). ^ Jacopo Iacoboni (28 March 2012). "Caro Andreotti, caro Fellini l'amicizia tra due arcitaliani". La Stampa (in Italian). ^ 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 bouffonnerie'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 copie 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 ^ Kezich 2006, p. 137. ^ Ciment, Michel. "Kubrick: Biographical Notes"; accessed 23 December 2009. ^ Burke 1996, p. 20. ^ Numerous onde include Affron, Alpert, Bondanella, Kezich, Miller et al. ^ Introduction to Giannina Braschi's Yo-Yo Boing!, Doris Sommer, Harvard University, Latin American Literary Review Press, 1998. ^ Miller 2008, p. 7. ^ Sciarretto, Amy (20 January 2015). "Lana Del Rey Is Working on New Music and Shared Some Hints About It". Artistdirect. 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. ^ "Cinema Archives - Wesleyan University". wesleyan.edu. ^ Baker, Tamzin (3 November 2009). "Federico Fellini". www.blouinartinfo.com. Modern Painters. Archived from the exemple on 21 December 2016. Retrieved 13 January 2021. ^ Neidich, Liz (18 September 2014). "2014 DCI Champions". Halftime Magazine. Retrieved 13 January 2021. ^ "Sylvain Chomet Steps Up for The Thousand Miles, Variety.com; accessed 28 August 2017. ^ web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le onorificenze della Repubblica Italiana". quirinale.it. Retrieved 28 August 2017. ^ Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici-reparto. "Le onorificenze della Repubblica Italiana". Retrieved 28 August 2017.


Alpert, Hollis (1988). Fellini, a life. New York: Paragon House. ISBN 978-1-55778-000-3. 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 disque (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. 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. Cinfarani, Carmine. Federico Fellini: Leone d'Oro, Venezia 1985. Rome: Anica. Dagnino, Gloria (2019). Branded entertainment and cinema: the marketisation of Italian parodie. London. ISBN 978-1-351-16684-3. Fava, Claudio G.; Viganò, Aldo (1995). I cinérama di Federico Fellini [Federico Fellini's films] (in Italian). Gremese Editore. ISBN 978-88-7605-931-5. Fellini, Federico (1976). Fellini on Fellini. Translated by Quigly, Isabel. Methuen. ISBN 978-0-413-33640-8. Fellini, Federico (1988). Comments on Film. Fresno, Calif.: Press at California State University, Fresno. ISBN 978-0-912201-15-3. Fellini, Federico; Santi, Pier Marco De (1982). I disegni di Fellini (in Italian). Laterza. 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. Manara, Milo; Fellini, Federico (1990). Trip to Tulum: from a scénario for a pièce idea. Translated by Gaudiano, Stefano; Bell, Elizabeth. Catalán Communications. ISBN 978-0-87416-123-6. 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. (2008). The Book of Dreams. New York, NY: Rizzoli International. ISBN 978-0-8478-3135-7. 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. 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. Perugini, Simone (2009). Nino Rota e le musiche per Il Casanova di Federico Fellini (1. ed.). Rome: Sabinae. ISBN 978-88-96105-23-8. 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 (1. ed.). Rome: Sabinae. ISBN 978-88-96105-01-6. Stubbs, John Caldwell (2006). Federico Fellini as chanteur: 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. 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

Wikimedia Commons has media related to Federico Fellini. Wikiquote has quotations related to: Federico FelliniFellini Official lieu (in English) Fellini Foundation Official Rimini web concitoyen (in Italian) Fondation Fellini à cause le ciné Swiss web nation (in French) Federico Fellini at IMDb Federico Fellini at the TCM Movie Database Works by or embout Federico Fellini in libraries (WorldCat catalog) Federico Fellini biography on Lambiek Comiclopedia Site commemorating Fellini's 100th birthdayvteFederico Fellini filmographyAs director Variety Lights (1950) The White Sheik (1952) I Vitelloni (1953) Love in the City (1953) La Strada (1954) Il bidone (1955) Nights of Cabiria (1957) La Dolce Vita (1960) Boccaccio '70 (1962) 8½ (1963) Juliet of the Spirits (1965) Spirits of the Dead (1968) Fellini: A Director's Notebook (1969) Fellini Satyricon (1969) The Clowns (1970) Roma (1972) Amarcord (1973) Casanova (1976) Orchestra Rehearsal (1979) City of Women (1980) And the Ship Sails On (1983) Ginger and Fred (1986) Intervista (1987) The Voice of the Moon (1990)As writer and actor L'Amore ("The Miracle" section, 1948)As writer only The Last Wagon (1943) Rome, Open City (1945) Paisan (1946) Flesh Will Surrender (1947) Bullet for Stefano (1947) Without Pity (1948) In the Name of the Law (1949) City of Pain (1949) The Mill on the Po (1949) The Flowers of St. Francis (1950) Path of Hope (1950) Four Ways Out (1951) Cameriera bella presenza offresi... (1951) The Bandit of Tacca Del Lupo (1952) Fortunella (1958)Related Giulietta Masina (wife) Paparazzi E il Casanova di Fellini? (1975 documentary) Fellini: I'm a Born Liar (2002 documentary 2003 book) How Strange to Be Named Federico (2013 documentary) The Thousand Miles Awards for Federico Fellini vteAcademy Award for Best International Feature Film1947–1955(Honorary) 1947: Shoeshine – Vittorio De Sica 1948: Monsieur Vincent – Maurice Cloche 1949: Bicycle Thieves – Vittorio De Sica 1950: The Walls of Malapaga – René Clément 1951: Rashomon – Akira Kurosawa 1952: Forbidden Games – René Clément 1953: No Award 1954: Gate of Hell – Teinosuke Kinugasa 1955: Samurai, The Legend of Musashi – Hiroshi Inagaki1956–1975 1956: La Strada – Federico Fellini 1957: Nights of Cabiria – Federico Fellini 1958: My Uncle – Jacques Tati 1959: Black Orpheus – Marcel Camus 1960: The Virgin Spring – Ingmar Bergman 1961: Through a Glass Darkly – Ingmar Bergman 1962: Sundays and Cybele – Serge Bourguignon 1963: ​8 1⁄2 – Federico Fellini 1964: Yesterday, Today and Tomorrow – Vittorio De Sica 1965: The Shop on Main Street – Ján Kadár & Elmar Klos 1966: A Man and a Woman – Claude Lelouch 1967: Closely Watched Trains – Jiří Menzel 1968: War and Peace – Sergei Bondarchuk 1969: Z – Costa-Gavras 1970: Investigation of a Citizen Above Suspicion – Elio Petri 1971: The Garden of the Finzi-Continis – Vittorio De Sica 1972: The Discreet Charm of the Bourgeoisie – Luis Buñuel 1973: Day for Night – François Truffaut 1974: Amarcord – Federico Fellini 1975: Dersu Uzala – Akira Kurosawa1976–2000 1976: Black and White in Color – Jean-Jacques Annaud 1977: Madame Rosa – Moshé Mizrahi 1978: Get Out Your Handkerchiefs – Bertrand Blier 1979: The Tin Drum – Volker Schlöndorff 1980: Moscow Does Not Believe in Tears – Vladimir Menshov 1981: Mephisto – István Szabó 1982: Volver a Empezar ('To Begin Again') – José Luis Garci 1983: Fanny and Alexander – Ingmar Bergman 1984: Dangerous Moves – Richard Dembo 1985: The Official Story – Luis Puenzo 1986: The Assault – Fons Rademakers 1987: Babette's Feast – Gabriel Axel 1988: Pelle the Conqueror – Bille August 1989: Cinema Paradiso – Giuseppe Tornatore 1990: Journey of Hope – Xavier Koller 1991: Mediterraneo – Gabriele Salvatores 1992: Indochine – Régis Wargnier 1993: Belle Sénescence – Fernando Trueba 1994: Burnt by the Sun – Nikita Mikhalkov 1995: Antonia's Line – Marleen Gorris 1996: Kolya – Jan Svěrák 1997: Character – Mike van Diem 1998: Life Is Beautiful – Roberto Benigni 1999: All About My Mother – Pedro Almodóvar 2000: Crouching Tiger, Hidden Dragon – Ang Lee2001–present 2001: No Man's Land – Danis Tanović 2002: Nowhere in Africa – Caroline Link 2003: The Barbarian Invasions – Denys Arcand 2004: The Sea Inside – Alejandro Amenábar 2005: Tsotsi – Gavin Hood 2006: The Lives of Others – Florian Henckel von Donnersmarck 2007: The Counterfeiters – Stefan Ruzowitzky 2008: Departures – Yōjirō Takita 2009: The Secret in Their Eyes – Juan José Campanella 2010: In a Better World – Susanne Bier 2011: A Separation – Asghar Farhadi 2012: Amour – Michael Haneke 2013: The Great Beauty – Paolo Sorrentino 2014: Ida – Paweł Pawlikowski 2015: Son of Saul – László Nemes 2016: The Salesman – Asghar Farhadi 2017: A Fantastic Woman – Sebastián Lelio 2018: Roma – Alfonso Cuarón 2019: Parasite – Bong Joon-ho vteAcademy Honorary Award1928–1950 Warner Bros. / Charlie Chaplin (1928) Walt Disney (1932) Shirley Temple (1934) D. W. Griffith (1935) The March of Time / W. Howard Greene and Harold Rosson (1936) Edgar Bergen / W. Howard Greene / Museum of Modern Art Film Library / Mack Sennett (1937) J. Arthur Ball / Walt Disney / Deanna Durbin and Mickey Rooney / Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner (1938) Douglas Fairbanks / Judy Garland / William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939) Bob Hope / Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer / Noël Coward / Metro-Goldwyn-Mayer (1942) George Pal (1943) Bob Hope / Margaret O'Brien (1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger / The House I Live In / Peggy Ann Garner (1945) Harold Russell / Laurence Olivier / Ernst Lubitsch / Claude Jarman Jr. (1946) James Baskett / Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor / Bill and Coo / Shoeshine (1947) Walter Wanger / Monsieur Vincent / Sid Grauman / Adolph Zukor (1948) Jean Hersholt / Fred Astaire / Cecil B. DeMille / The Bicycle Thief (1949) Louis B. Mayer / George Murphy / The Walls of Malapaga (1950)1951–1975 Gene Kelly / Rashomon (1951) Merian C. Cooper / Bob Hope / Harold Lloyd / George Mitchell / Joseph M. Schenck / Forbidden Games (1952) 20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye / Kemp Niver / Greta Garbo / Jon Whiteley / Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor (1956) Society of Motion Picture and Television Engineers / Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Chevalier (1958) Buster Keaton / Lee de Forest (1959) Gary Cooper / Stan Laurel / Hayley Mills (1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins (1961) William J. Tuttle (1964) Bob Hope (1965) Yakima Canutt / Y. Frank Freeman (1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant (1969) Lillian Gish / Orson Welles (1970) Charlie Chaplin (1971) Charles S. Boren / Edward G. Robinson (1972) Henri Langlois / Groucho Marx (1973) Howard Hawks / Jean Renoir (1974) Mary Pickford (1975)1976–2000 Margaret Booth (1977) Walter Lantz / Laurence Olivier / King Vidor / Museum of Modern Art Department of Film (1978) Hal Elias / Alec Guinness (1979) Henry Fonda (1980) Barbara Stanwyck (1981) Mickey Rooney (1982) Hal Roach (1983) James Stewart / National Endowment for the Arts (1984) Paul Newman / Alex North (1985) Ralph Bellamy (1986) Eastman Kodak Company / National Film Board of Canada (1988) Akira Kurosawa (1989) Sophia Loren / Myrna Loy (1990) Satyajit Ray (1991) Federico Fellini (1992) Deborah Kerr (1993) Michelangelo Antonioni (1994) Kirk Douglas / Chuck Jones (1995) Michael Kidd (1996) Stanley Donen (1997) Elia Kazan (1998) Andrzej Wajda (1999) Jack Cardiff / Ernest Lehman (2000)2001–present Sidney Poitier / Robert Redford (2001) Peter O'Toole (2002) Blake Edwards (2003) Sidney Lumet (2004) Robert Altman (2005) Ennio Morricone (2006) Robert F. Boyle (2007) Lauren Bacall / Roger Corman / Gordon Willis (2009) Kevin Brownlow / Jean-Luc Godard / Eli Wallach (2010) James Earl Jones / Dick Smith (2011) D. A. Pennebaker / Hal Needham / George Stevens Jr. (2012) Angela Lansbury / Steve Martin / Piero Tosi (2013) Jean-Claude Carrière / Hayao Miyazaki / Maureen O'Hara (2014) Spike Lee / Gena Rowlands (2015) Jackie Chan / Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016) Charles Burnett / Owen Roizman / Donald Sutherland / Agnès Varda (2017) Marvin Levy / Lalo Schifrin / Cicely Tyson (2018) David Lynch / Wes Studi / Lina Wertmüller (2019) vteBAFTA Award for Best Production Design1964–1967Black and White Ken Adam (1964) Ray Simm (1965) Tambi Larsen (1966) No Award (1967)Colour John Bryan (1964) Ken Adam (1965) Wilfred Shingleton (1966) John Box (1967)1968–present Ernest Archer, Harry Lange and Anthony Masters (1968) Donald M. Ashton (1969) Mario Garbuglia (1970) Ferdinando Scarfiotti (1971) Rolf Zehetbauer (1972) Natasha Kroll (1973) John Box (1974) John Box (1975) Geoffrey Kirkland (1976) Danilo Donati and Federico Fellini (1977) Joe Alves (1978) Michael Seymour (1979) Stuart Craig (1980) Norman Reynolds (1981) Lawrence G. Paull (1982) Gianni Quaranta and Franco Zeffirelli (1983) Roy Walker (1984) Norman Garwood (1985) Brian Ackland-Snow and Gianni Quaranta (1986) Santo Loquasto (1987) Dean Tavoularis (1988) Dante Ferretti (1989) Richard Sylbert (1990) Bo Welch (1991) Catherine Martin (1992) Andrew McAlpine (1993) Dante Ferretti (1994) Michael Corenblith (1995) Tony Burrough (1996) Catherine Martin (1997) Dennis Gassner (1998) Rick Heinrichs (1999) Arthur Max (2000) Aline Bonetto (2001) Dennis Gassner (2002) William Sandell (2003) Dante Ferretti (2004) Stuart Craig (2005) Jim Clay, Geoffrey Kirkland and Jennifer Williams (2006) Sarah Greenwood and Katie Spencer (2007) Donald Graham Burt and Victor J. Zolfo (2008) Rick Carter, Robert Stromberg and Kim Sinclair (2009) Guy Hendrix Dyas, Larry Dias and Doug Mowat (2010) Dante Ferretti and Francesca Lo Schiavo (2011) Eve Stewart and Anna Lynch-Robinson (2012) Catherine Martin and Beverly Dunn (2013) Adam Stockhausen and Anna Pinnock (2014) Colin Gibson and Lisa Thompson (2015) Stuart Craig and Anna Pinnock (2016) Paul D. Austerberry, Jeff Melvin and Shane Vieau (2017) Fiona Crombie and Alice Felton (2018) Dennis Gassner and Lee Sandales (2019) vteBAFTA Fellowship Award1971–2000 Alfred Hitchcock (1971) Freddie Young (1972) Grace Wyndham Goldie (1973) David Lean (1974) Jacques Cousteau (1975) Charlie Chaplin (1976) Laurence Olivier (1976) Denis Forman (1977) Fred Zinnemann (1978) Lew Grade (1979) Huw Wheldon (1979) David Attenborough (1980) John Huston (1980) Abel Gance (1981) Michael Powell & Emeric Pressburger (1981) Andrzej Wajda (1982) Richard Attenborough (1983) Hugh Greene (1984) Sam Spiegel (1984) Jeremy Isaacs (1985) Steven Spielberg (1986) Federico Fellini (1987) Ingmar Bergman (1988) Alec Guinness (1989) Paul Fox (1990) Louis Malle (1991) John Gielgud (1992) David Plowright (1992) Sydney Samuelson (1993) Colin Young (1993) Michael Grade (1994) Billy Wilder (1995) Jeanne Moreau (1996) Ronald Neame (1996) John Schlesinger (1996) Maggie Smith (1996) Woody Allen (1997) Steven Bochco (1997) Julie Christie (1997) Oswald Morris (1997) Harold Pinter (1997) David Rose (1997) Sean Connery (1998) Bill Cotton (1998) Eric Morecambe & Ernie Wise (1999) Elizabeth Taylor (1999) Michael Caine (2000) Stanley Kubrick (2000) Peter Bazalgette (2000)2001–present Albert Finney (2001) John Thaw (2001) Judi Dench (2001) Warren Beatty (2002) Merchant Ivory Productions (2002) Andrew Davies (2002) John Mills (2002) Saul Zaentz (2003) David Jason (2003) John Boorman (2004) Roger Graef (2004) John Barry (2005) David Frost (2005) David Puttnam (2006) Ken Loach (2006) Anne V. Coates (2007) Richard Curtis (2007) Will Wright (2007) Anthony Hopkins (2008) Bruce Forsyth (2008) Dawn French & Jennifer Saunders (2009) Terry Gilliam (2009) Nolan Bushnell (2009) Vanessa Redgrave (2010) Shigeru Miyamoto (2010) Melvyn Bragg (2010) Christopher Lee (2011) Peter Molyneux (2011) Trevor McDonald (2011) Martin Scorsese (2012) Rolf Harris (2012) Alan Parker (2013) Gabe Newell (2013) Michael Palin (2013) Helen Mirren (2014) Rockstar Games (2014) Julie Walters (2014) Mike Leigh (2015) David Braben (2015) Jon Snow (2015) Sidney Poitier (2016) John Carmack (2016) Ray Galton & Alan Simpson (2016) Mel Brooks (2017) Joanna Lumley (2017) Ridley Scott (2018) Tim Schafer (2018) Kate Adie (2018) Thelma Schoonmaker (2019) Joan Bakewell (2019) Kathleen Kennedy (2020) Hideo Kojima (2020) Ang Lee (2021) Siobhan Reddy (2021) vteDavid di Donatello Award for Best Director Gianni Franciolini (1956) Federico Fellini (1957) Alberto Lattuada (1959) Federico Fellini (1960) Michelangelo Antonioni (1961) Ermanno Olmi (1962) Vittorio De Sica (1963) Pietro Germi (1964) Vittorio De Sica / Francesco Rosi (1965) Alessandro Blasetti / Pietro Germi (1966) Luigi Comencini (1967) Carlo Lizzani (1968) Franco Zeffirelli (1969) Gillo Pontecorvo (1970) Luchino Visconti (1971) Sergio Leone / Franco Zeffirelli (1972) Luchino Visconti (1973) Federico Fellini (1974) Dino Risi (1975) Mario Monicelli / Francesco Rosi (1976) Mario Monicelli / Valerio Zurlini (1977) Ettore Scola (1978) Francesco Rosi (1979) Marco Bellocchio / Gillo Pontecorvo (1980) Francesco Rosi (1981) Marco Ferreri (1982) Paolo and Vittorio Taviani (1983) Ettore Scola (1984) Francesco Rosi (1985) Mario Monicelli (1986) Ettore Scola (1987) Bernardo Bertolucci (1988) Ermanno Olmi (1989) Mario Monicelli (1990) Marco Risi / Ricky Tognazzi (1991) Gianni Amelio (1992) Roberto Faenza / Ricky Tognazzi (1993) Carlo Verdone (1994) Mario Martone (1995) Giuseppe Tornatore (1996) Francesco Rosi (1997) Roberto Benigni (1998) Giuseppe Tornatore (1999) Silvio Soldini (2000) Gabriele Muccino (2001) Ermanno Olmi (2002) Pupi Avati (2003) Marco Tullio Giordana (2004) Paolo Sorrentino (2005) Nanni Moretti (2006) Giuseppe Tornatore (2007) Andrea Molaioli (2008) Matteo Garrone (2009) Marco Bellocchio (2010) Daniele Luchetti (2011) Paolo and Vittorio Taviani (2012) Giuseppe Tornatore (2013) Paolo Sorrentino (2014) Francesco Munzi (2015) Matteo Garrone (2016) Paolo Virzì (2017) Jonas Carpignano (2018) Matteo Garrone (2019) Marco Bellocchio (2020) vteEuropean Film Academy Lifetime Achievement Award  Ingmar Bergman (1988)  Marcello Mastroianni (1988)  Federico Fellini (1989)  Andrzej Wajda (1990)  Alexandre Trauner (1991)  Billy Wilder (1992)  Michelangelo Antonioni (1993)  Robert Bresson (1994)  Marcel Carné (1995)  Alec Guinness (1996)  Jeanne Moreau (1997)  Ennio Morricone (1999)  Richard Harris (2000)  Monty Python (2001)  Tonino Guerra (2002)  Claude Chabrol (2003)  Carlos Saura (2004)  Sean Connery (2005)  Roman Polanski (2006)  Jean-Luc Godard (2007)  Judi Dench (2008)  Ken Loach (2009)  Bruno Ganz (2010)  Stephen Frears (2011)  Bernardo Bertolucci (2012)  Catherine Deneuve (2013)  Agnès Varda (2014)  Charlotte Rampling (2015)  Jean-Claude Carrière (2016) Alexander Sokurov (2017) Carmen Maura (2018) Werner Herzog (2019)Award of Merit (Special Achievement Award) Richard Attenborough (1988) Jeremy Irons (1998)Honorary Award Manoel de Oliveira (2007) Michel Piccoli (2011) Michael Caine (2015) Andrzej Wajda (2016) Costa-Gavras (2018) vte Film Society of Lincoln Center Gala Tribute Honorees Charlie Chaplin (1972) Fred Astaire (1973) Alfred Hitchcock (1974) Joanne Woodward and Paul Newman (1975) George Cukor (1978) Bob Hope (1979) John Huston (1980) Barbara Stanwyck (1981) Billy Wilder (1982) Laurence Olivier (1983) Claudette Colbert (1984) Federico Fellini (1985) Elizabeth Taylor (1986) Alec Guinness (1987) Yves Montand (1988) Bette Davis (1989) James Stewart (1990) Audrey Hepburn (1991) Gregory Peck (1992) Jack Lemmon (1993) Robert Altman (1994) Shirley MacLaine (1995) Clint Eastwood (1996) Sean Connery (1997) Martin Scorsese (1998) Mike Nichols (1999) Al Pacino (2000) Jane Fonda (2001) Francis Ford Coppola (2002) Susan Sarandon (2003) Michael Caine (2004) Dustin Hoffman (2005) Jessica Lange (2006) Diane Keaton (2007) Meryl Streep (2008) Tom Hanks (2009) Michael Douglas (2010) Sidney Poitier (2011) Catherine Deneuve (2012) Barbra Streisand (2013) Rob Reiner (2014) Robert Redford (2015) Morgan Freeman (2016) Robert De Niro (2017) Helen Mirren (2018) No honoree (2019) Spike Lee (2020) vteNastro d'Argento Award for Best Director Alessandro Blasetti / Vittorio De Sica (1946) Roberto Rossellini (1947) Alberto Lattuada / Giuseppe De Santis (1948) Vittorio De Sica (1949) Augusto Genina (1950) Alessandro Blasetti (1951) Renato Castellani (1952) Luigi Zampa (1953) Federico Fellini (1954) Federico Fellini (1955) Michelangelo Antonioni (1956) Pietro Germi (1957) Federico Fellini (1958) Pietro Germi (1959) Roberto Rossellini (1960) Luchino Visconti (1961) Michelangelo Antonioni (1962) Nanni Loy / Francesco Rosi (1963) Federico Fellini (1964) Pier Paolo Pasolini (1965) Antonio Pietrangeli (1966) Gillo Pontecorvo (1967) Elio Petri (1968) Franco Zeffirelli (1969) Luchino Visconti (1970) Elio Petri (1971) Luchino Visconti (1972) Bernardo Bertolucci (1973) Federico Fellini (1974) Luchino Visconti (1975) Michelangelo Antonioni (1976) Valerio Zurlini (1977) Paolo and Vittorio Taviani (1978) Ermanno Olmi (1979) Federico Fellini (1980) Francesco Rosi (1981) Marco Ferreri (1982) Paolo and Vittorio Taviani (1983) Pupi Avati / Federico Fellini (1984) Sergio Leone (1985) Mario Monicelli (1986) Ettore Scola (1987) Bernardo Bertolucci (1988) Ermanno Olmi (1989) Pupi Avati (1990) Gianni Amelio (1991) Gabriele Salvatores (1992) Gianni Amelio (1993) Nanni Moretti (1994) Gianni Amelio (1995) Giuseppe Tornatore (1996) Maurizio Nichetti (1997) Roberto Benigni (1998) Giuseppe Tornatore (1999) Silvio Soldini (2000) Nanni Moretti (2001) Marco Bellocchio (2002) Gabriele Salvatores (2003) Marco Tullio Giordana (2004) Gianni Amelio (2005) Michele Placido (2006) Giuseppe Tornatore (2007) Paolo Virzì (2008) Paolo Sorrentino (2009) Paolo Virzì (2010) Nanni Moretti (2011) Paolo Sorrentino (2012) Giuseppe Tornatore (2013) Paolo Virzì (2014) Paolo Sorrentino (2015) Paolo Virzì (2016) Gianni Amelio (2017) Matteo Garrone (2018) Marco Bellocchio (2019) vteNew York Film Critics Circle Award for Best Director John Ford (1935) Rouben Mamoulian (1936) Gregory La Cava (1937) Alfred Hitchcock (1938) John Ford (1939) John Ford (1940) John Ford (1941) John Farrow (1942) George Stevens (1943) Leo McCarey (1944) Billy Wilder (1945) William Wyler (1946) Elia Kazan (1947) John Huston (1948) Carol Reed (1949) Joseph L. Mankiewicz (1950) Elia Kazan (1951) Fred Zinnemann (1952) Fred Zinnemann (1953) Elia Kazan (1954) David Lean (1955) John Huston (1956) David Lean (1957) Stanley Kramer (1958) Fred Zinnemann (1959) Jack Cardiff / Billy Wilder (1960) Robert Rossen (1961) No Award (1962) Tony Richardson (1963) Stanley Kubrick (1964) John Schlesinger (1965) Fred Zinnemann (1966) Mike Nichols (1967) Paul Newman (1968) Costa-Gavras (1969) Bob Rafelson (1970) Stanley Kubrick (1971) Ingmar Bergman (1972) François Truffaut (1973) Federico Fellini (1974) Robert Altman (1975) Alan J. Pakula (1976) Woody Allen (1977) Terrence Malick (1978) Woody Allen (1979) Jonathan Demme (1980) Sidney Lumet (1981) Sydney Pollack (1982) Ingmar Bergman (1983) David Lean (1984) John Huston (1985) Woody Allen (1986) James L. Brooks (1987) Chris Menges (1988) Paul Mazursky (1989) Martin Scorsese (1990) Jonathan Demme (1991) Robert Altman (1992) Jane Campion (1993) Quentin Tarantino (1994) Ang Lee (1995) Lars von Trier (1996) Curtis Hanson (1997) Terrence Malick (1998) Mike Leigh (1999) Steven Soderbergh (2000) Robert Altman (2001) Todd Haynes (2002) Sofia Coppola (2003) Clint Eastwood (2004) Ang Lee (2005) Martin Scorsese (2006) Joel Coen and Ethan Coen (2007) Mike Leigh (2008) Kathryn Bigelow (2009) David Fincher (2010) Michel Hazanavicius (2011) Kathryn Bigelow (2012) Steve McQueen (2013) Richard Linklater (2014) Todd Haynes (2015) Barry Jenkins (2016) Sean Baker (2017) Alfonso Cuarón (2018) Joshua Safdie and Benjamin Safdie (2019) Chloé Zhao (2020) Authority control BIBSYS: 90059208 BNC: 000042894 BNE: XX855667 BNF: cb11902511c (data) CANTIC: a11726945 CiNii: DA02983269 GND: 118532421 ICCU: IT\ICCU\CFIV[scrape_url:1]



[/scrape_url]0288 ISNI: 0000 0004 4037 8307 LCCN: n79056202 LNB: 000036945 MBA: 7b3fb3b1-464f-4b56-8e76-dd269c396e33 NDL: 00439366 NKC: jn19990002219 NLA: 35080071 NLG: 70346 NLI: 000231811 NLK: KAC199633794 NLP: A11788148 NSK: 000009606 NTA: 069205515 PLWABN: 9810596357905606 RERO: 02-A003237101, 02-A010082535 RKD: 276423 SELIBR: 186745 SNAC: w65x2dmg SUDOC: 027291537 Trove: 820528 ULAN: 500081169 VcBA: 495/56019 VIAF: 76315386 WorldCat Identities: lccn-n79056202 Retrieved from "https://en.wikipedia.org/w/index.php?title=Federico_Fellini&oldid=1015021173"

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