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Relevant bibliographies by topics / Fellini, Federico

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Journal articles

Academic literature on the topic 'Fellini, Federico'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Fellini, Federico"

1

Block de Behar, Lisa. "Federico Fellini." Cuadernos Literarios 4, no. 7 (2007): 17–32. http://dx.doi.org/10.35626/cl.7.2007.89.

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Lisa Block de Behar dilucida sobre la función de la anáfora en el lenguaje cinematográfico a partir de un segmento de L’Intervista, filme de Federico Fellini. En este, el director italiano ingresa en el límite entre la ficción y los hechos, entre los hechos y otras ficciones. Cabe agregar que esta versión en español corresponde al texto presentado en francés en el Coloquio “Christian Metz et la théorie du cinema”. Centre Culturel International de Cerisy-la-Salle, Francia, 29 de junio de 1989.

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2

Cantore, Francesca, and Giulia Muggeo. "Federico Fellini and the debate in Italian feminist magazines (1973–80)." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 45–62. http://dx.doi.org/10.1386/jicms_00050_1.

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Many articles focus on the feminine ‘Fellinian’ models and stereotypes, on his sexist imaginary and, in wider terms, on the relationship between Fellini and women in general, but very few analyses have actually investigated the real effects that these feminist critics had in shaping Federico Fellini’s public image. Starting from the debate that surrounds his films La città delle donne (City of Women) (1980), Amarcord (1973) and Il Casanova di Federico Fellini (Fellini’s Casanova) (1976), this article analyses the bonds between Fellini and the feminist movement in the 1970s, and it focuses on t

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3

Bauman, Rebecca. "Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini, Alessandro Carrera (2019)." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 161–66. http://dx.doi.org/10.1386/jicms_00059_5.

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Review of: Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini, Alessandro Carrera (2019) London and New York: Bloomsbury Academic, 186 pp., ISBN 978-1-47429-761-5, h/bk, £72.00 Glossario felliniano: 50 voci per raccontare Federico Fellini il genio italiano del cinema, Gianfranco Angelucci (2019) Rome: Avagliano, 296 pp., ISBN 978-8-88309-416-3, p/bk, €20.00

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4

Garofalo, Damiano, and Angela Mancinelli. "A ‘means of distribution’: Federico Fellini and Italian television1." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 27–43. http://dx.doi.org/10.1386/jicms_00049_1.

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This article will examine both the Fellinian imagery of television that is present in his films and the role of Fellini as a television ‘critic’. In the first part, we consider Federico Fellini’s entire filmography, focusing on the main cinematic texts that deal most explicitly with the world of television: Il bidone (The Swindle) (1955), La Dolce Vita (1960), Prova d’orchestra (Orchestra Rehearsal) (1979), Ginger e Fred (Ginger and Fred) (1986), Intervista (1988) and La voce della luna (The Voice of the Moon) (1989). In order to define Fellini’s thoughts on television and to compare this inte

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5

Ahrens, Stephan. "The sanctifying effect of Federico Fellini." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 101–15. http://dx.doi.org/10.1386/jicms_00053_1.

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This article explores the public image of Federico Fellini in post-war Germany. While Italy was a recurring topic in German cinema, Italian movies were almost absent. This situation changed with the introduction of Fellini’s films in West Germany. Fellini was an important mediator between German and Italian culture as he and Giulietta Masina were promoted as an ingenious couple. The article considers the special situation of West German film culture in the 1950s, which was distinguished by a high degree of commercialisation. Film theoretical concepts such as auteur theory were hardly discussed

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6

Hope, William, Frank Burke, and Marguerite R. Waller. "Federico Fellini: Contemporary Perspectives." Modern Language Review 98, no. 4 (2003): 1011. http://dx.doi.org/10.2307/3737996.

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7

Gamzatova, P. R. "Liminality as an Archetype in Federico Fellini’s Art." Observatory of Culture, no. 3 (June 28, 2015): 70–78. http://dx.doi.org/10.25281/2072-3156-2015-0-3-70-78.

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Liminality as an Archetype in Federico Fellini’s Art (by Patimat Gamzatova) analyzing a number of typical structural features of Federico Fellini’s films (non-linear narrative, purposelessness, randomness), the conflicts of the plot (moments of crisis of the society and personal psychological crisis), the nature of the characters (marginality, the culture of laughter and its characters, creative persons), the peculiarity of the main character and the alter ego of Fellini himself (Marcello Mastroianni) that represents the perplexed, shapeless, meaningless face in the world of «faces-meanings»,

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8

Graubard, Allan. "Federico Fellini: Making a Film." Leonardo 49, no. 1 (2016): 94–95. http://dx.doi.org/10.1162/leon_r_01173.

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9

Rossi, Patrizio, Peter Bondanella, and Manuela Gieri. "La Strada, Federico Fellini, Director." Italica 67, no. 2 (1990): 217. http://dx.doi.org/10.2307/478595.

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10

Lawton, Harry, and Peter Bondanella. "The Cinema of Federico Fellini." Italica 71, no. 3 (1994): 428. http://dx.doi.org/10.2307/480124.

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