Academic literature on the topic 'Fellini, Federico'
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Journal articles on the topic "Fellini, Federico"
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Block de Behar, Lisa. "Federico Fellini." Cuadernos Literarios 4, no. 7 (December 1, 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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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 (January 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 the role played by feminist magazines in the director’s public image construction. The problematic relationship between Fellini and the feminist movement and ideologies will be analysed especially through a review of feminist magazines such as Quotidiano donna and Effe. Daily newspapers Il Giorno, Corriere della Sera and Paese Sera will also be taken into account in order to consider a wider field of investigation.
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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 (January 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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Garofalo, Damiano, and Angela Mancinelli. "A ‘means of distribution’: Federico Fellini and Italian television1." Journal of Italian Cinema & Media Studies 9, no. 1 (January 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 intellectual assertiveness to traces of his own involvement with several Italian television productions, we connect the analysis of his filmography with the study of Fellini’s comments, interviews and articles published in several Italian journals and magazines between the 1970s and 1980s. The aim of this article is to trace an organic relationship between Fellini and television, from the production of his films to his notes as an intellectual.
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Ahrens, Stephan. "The sanctifying effect of Federico Fellini." Journal of Italian Cinema & Media Studies 9, no. 1 (January 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. The analysis in this article is based on the examination of contemporary film reviews and marketing material. I will place Fellini’s films in the context of the reception of Italian cinema in Germany. This also includes a comparison with other countries on which studies have already been presented. Fellini’s rise to an auteur in Germany coincides with a fundamental change in film culture. I will focus in the last part on this previously unexamined correlation.
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Hope, William, Frank Burke, and Marguerite R. Waller. "Federico Fellini: Contemporary Perspectives." Modern Language Review 98, no. 4 (October 2003): 1011. http://dx.doi.org/10.2307/3737996.
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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», the author of this article comes to a conclusion that liminality (state of transition - the concept that has been formed and analyzed in Ethnology) is one of the archetypes of consciousness that forms artistic structures and is most vividly manifested in the work of Fellini.
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Graubard, Allan. "Federico Fellini: Making a Film." Leonardo 49, no. 1 (February 2016): 94–95. http://dx.doi.org/10.1162/leon_r_01173.
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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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Lawton, Harry, and Peter Bondanella. "The Cinema of Federico Fellini." Italica 71, no. 3 (1994): 428. http://dx.doi.org/10.2307/480124.
Full textDissertations / Theses on the topic "Fellini, Federico"
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Eades, Caroline. "Fellini-Satyricon." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376047875.
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Méjean, Jean-Max. "Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini." Paris 7, 1992. http://www.theses.fr/1992PA070076.
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Cette etude tente de pratiquer une analyse psychanalytique de l'ensemble de l'oeuvre de fellini, sur le plan de la psychanalyse jungienne. Une sorte d'itineraire tenant compte de l'aspect labyrinthique du cinema de fellini. Quelques films sont analyses de facon sequentielle, d'autres ont ete abordes de facon plus generale mais avec une insistance toute particuliere sur certains plans. L'etude comporte en outre des analyses de photgrammes comme tentative d'approche de l'image afin de denoter les aspects essentiels du double, de l'androgynie, du masque et de la femme que le heros fellinien recherche vainement. Sur une totalite de 24 films, cette these comprend aussi des entretiens avec des personnes ayant travaille avec fellini et se conclut sur l'apport de la synchronicite jungienne sur l'ensemble de l'oeuvre, une oeuvre magistrale qui laisse une grande place a la fantasmagorie et a l'humanismeThis study attempts to give a psychoanalytic analysis of the whole of fellini's work, related to the jungian psychoanalysis. A sort of itinerary relevant of the labyrinthic aspect of fellini's art. Some films are analyzed on a sequencial mode, others have been approached on a general mode but with a more particular insistance on some sequences. This study also includes an analysis of some photograms like an attempt to an approach of the image in fellini's work in order to explore some essential aspects : the doudle, the androgyny, the mask and the ideal woman that the fellinian hero vainly seeks. Out of a total of twenty four films, this thesis also contains thirteen interviews of people who have collaborated with fellini and concludes on the contribution of the jungian synchronicity in the whole of fellini's films, a master-work which gives a great place to fantasmagory and humanism
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Eades, Caroline. ""Fellini-Satyricon"." Paris 3, 1986. http://www.theses.fr/1987PA030125.
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Le film de federico fellini, fellini-satyricon (italie, 1969), est le fruit d'influences litteraires, historiques et cinematographiques, tant sur le plan stylistique qu'au niveau de la narration. L'influence la plus notable est celle du roman de petrone, le satiricon, qui daterait du regne de neron et a fourni au film ses personnages principaux, la moitie de ses sequences et une grande partie de sa structure; les musees de naples et de rome, les sites de pompei et d'herculanum, les reconstitutions historiques de jerome carcopino ont contribue a l'elaboration des decors et des costumes. Le film de fellini s'inscrit aussi dans le contexte contemporain d'un genre - le peplum -, d'une pensee de type formaliste - les archetypes jungiens- et des conceptions esthetiques des annees soixanteFederico fellini's film, fellini-satyricon (italy, 1969), its the result of several literary, historical and cinematographic influences at the level of stylistics as well as in the narrative structure. The major influence comes from petronius' novel, the satiricon, which dates from nero's reign and provided the film with its main characters, half of its scenes and a major part of its structure; rome and naples museums, the sites of pompei and herculanum, jerome carcopino's historical reconstitutions also contributed to the conception of sets and costumes. Moreover fellini's film is to be viewed in the context of a genre - the peplum -, of a formalist style of analysis - the jungian archetypes - and of the aesthetics of the sixties
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Mordenti, Francesco. "Dinamiche gestionali dell'aeroporto Federico Fellini di Rimini." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7003/.
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Nuti, Laura. "La ricezione di Federico Fellini in Francia." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20021.
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La thèse vise à faire le point sur la réception (critique et publique) de Fellini en France sur la plus grande partie de sa carrière de réalisateur 1953-1993. À travers l’étude d’un large choix des témoignages et documents on souhaite montrer une différence significative entre l’Italie et la France, et se questionner sur les causes qui la déterminent. Une certaine mythologie (Barthes) se dégage de cette première analyse qui demande à être identifiée, questionnée, mise en perspective dans une étude transtextuelle qui sera le centre de la deuxième partie de la thèseIn this thesis, I’ll provide a brief overview on the major turning points of the critical response to Fellini’s films in the 20th century French press (especially in Cahiers du cinéma and Positif). To this end, starting from I Vitelloni – the first Fellini’s film to be released in French theatres – up to The Voice of the Moon – Fellini’s last movie –, I’ll follow the critical debate on Fellini’s films, with particular reference to issues concerning dramatic structure and neo-realism. Within this context, I’ll highlight how Cahiers changed its critical response to Fellini’s work throughout the years, from his exclusion from the “auteurs’ elite group” to his final inclusion. This work also contains references to Nouvelle Vague, Roland Barthes, George Simenon and Gilles Deleuze
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Costa, Fabienne. "Le corps sous influences dans l'oeuvre de Federico Fellini." Paris 3, 2000. http://www.theses.fr/2000PA030149.
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L'esthetique du spectaculaire est d'ordinaire associee a l'oeuvre de fellini. Cette perspective conduit a determiner une categorie du corps dit << fellinien >>, essentiellement definie par les formes abondantes des acteurs. Un autre corps, plus discret mais nullement secondaire, traverse pourtant les films du cineaste italien. Saisi par le film qui ne se contente pas de le camper en personnage, il depasse la chair des acteurs, leur simple apparence qui compte moins que l'ensemble des relations dans lequel il est pris. Il montre sa capacite de diffusion, excede ses propres contours et devient alors un pur effet. Subtilement modele par le film, perpetuellement sous influences, il ne se manifeste pas dans sa seule representation et parvient a << faire presence >>. Le corps, dans l'oeuvre de fellini, a lieu au-dela des phenomenes visibles et sonores qui le fondent. Il ne peut etre definitivement localise. Il est le travail d'une limite toujours repoussee et se constitue dans la transformation. En revanche, il est possible de voir dans quel mouvement il s'implique en soulignant la reprise de certains elements fondateurs. Ambigu et paradoxal, constamment decale, il est issu d'un rythme expansif et contracte ; tensions contraires qui absorbent son actualite dans l'image et le conduisent a se soustraire du film et, a la fois, a s'y perdre. Cette etude cherche a rendre sensible ce corps a travers l'analyse detaillee de passages precis de l'oeuvre de fellini, des notti di cabiria (1957) a intervista (1987). Elle releve ses zones d'echanges, ses ecarts avec son environnement filmique quifaconnent son mode d'existence. Elle s'attache a definir sa multiplicite en suivant notamment ses << devenirs >> et ses variations a travers le temps du film.
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Deaca, Mircea-Valeriu. "Carnavalesque de second degré dans l'oeuvre de Federico Fellini." Paris 3, 1995. http://www.theses.fr/1995PA030123.
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Il s'agit d'une etude sur les sources carnavalesques des motifs cinematographiques des films de fellini. Le carnaval auquel on fait reference est lu a travers les travaux de m. Bakhtine et c. Gaignebet. On a dressee une liste des unites symboliques qui sont derivees de la tradition de carnaval et on a analyse, a chaque occurrence dans le discours cinematographique fellinien - sur un corpus de vingt-cinq films - la mise en discours specifique, les variantes de chaque motif, la signification conventionnelle de l'element et sa transformation dans l'oeuvre du cineaste italien. Le travail est ordonne en chapitres traitant les themes du carnaval. Chaque chapitre est divise en sous chapitres traitant des motifs et des figures du film de fellini. L'approche methodologique est semio-cognitive. Les phenomenes de carnaval cites sont reunis en fonction d'un "air de famille" commun. Le concept de carnaval est concu sous une acception elargie et comprend non seulement des phenomenes canoniques, mais aussi des cas atypiqsues comme l'imaginaire alchimique. Au niveau narratif on a decele la presence d'un schema commun a plusieurs films ou sequences : un scenario d'initiation (qui contient la mort rituelle, le voyage dans un au-dela et la resurrection). Ce scenario se manifeste comme farce et, dans les cas typiques, a lieu sous le signe d'un "principe feminin"The research is a study of the carnivalesque sources of federico fellini's cinematographic motifs. The concept of carnival is conceived essentially through the works of m. Bakhtin and c. Gaignebet. We analysed - on a corpus of twenty five films the motifs issued from carnivalesque tradition and commented upon their specific transformation during the process of integration in fellini's cinematographic discourse. The methodology used is semio-cognitive. We have considered that at a narrative level there is a common schema to many films and sequences. In is an initiation scenario which in several typical cases manifests itself as an carnivalesque farce activated under the guidance of a feminine principle
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O'Gara, Maura Rayne. "The grotesque in the works of Federico Fellini and Angela Carter." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18588.
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Chapter one of this thesis attempts to explicate and analyze the controversy that has historically surrounded the grotesque. Contention over the grotesque has existed since the earliest known discourses on the subject by Horace and Vitruvius. The indeterminacy and paradoxical nature of the grotesque, which disturbed these men of antiquity, has continued to generate debate among modern theorists such as Mikhail Bakhtin and Wolfgang Kayser whose ideas serve as touchstones throughout this work. Understandably, theorists, who strive to create systems of ideas which attempt to explain and define phenomena, are drawn to the grotesque. However, they are inevitably placed in the paradoxical position of trying to categorize something which ultimately subverts the conventional logic which underlies that process. Furthermore, the standards of mimesis and decorum, from which the grotesque gets its disruptive force, are subject to society. Societies provide the different conventions and assumptions that determine the form of the grotesque. Therefore, the grotesque will always have to be approached in its historically specific contexts of production and reception. What becomes apparent in analysing the grotesque is that attitudes toward its indeterminacy and paradoxical nature, which transgress the monologic binaries and implied hierarchies of Western thought, reflect the position of the observer or producer of the grotesque. If one espouses the cause of the low, as does Balch tin, then the indeterminacy and paradox of the grotesque provides an egalitarian possibility for the marginalized. If one stands with the status quo, as does Kayser, the transgressing of the definitions and distinctions which support the status quo is experienced as frightening and sinister (Harpham, 73). The differences noted between Kayser and Balch tin as observers of the grotesque may also be made between Federico Fellini and Angela Carter as producers of grotesque texts. The following two chapters of the thesis explore how the grotesque is used in Fellini's films (chapter two) and Carter's novels (chapter three). Carter, like Bakhtin, celebrates the grotesque as a means of empowerment, particularly for women and her work seems to employ the Bakhtinian theory of the carnivalesque. Fellini's films also use images of carnival, but Fellini, like Kayser, sees the grotesque as an isolating aspect of the human condition. Fellini uses the grotesque only to show humanity's alienation from a knowable world, whereas Carter uses it to demonstrate the possibilities of a totally new one. Carter appears to take the Fellinian, Kayserian, negative attitude towards the grotesque and turn it around for her feminist cause. She utilizes the emancipatory aspect of the grotesque inherent in its denial of hierarchy without, however, idealizing it as Bakhtin appears to. She is well aware that carnivals, like her novels, are author(ized). In analyzing the continuum of Fellini's and Carter's works, both artists show an increased dependence on the use of the grotesque combined with postmodern strategies to support their intentions. However, the continuum of Fellini's oeuvre suggests the development of a modernist approach which attempts closure, but faced with the impossibility of final determinacy, turns to the quagmire of simulacra where no meaning is possible. Carter, on the other hand, increasingly uses the grotesque and postmodern strategies not only to reveal and deconstruct oppressive representations, but to allow agency for the reconstruction of new subjectivities. As this thesis will demonstrate, the grotesque's indeterminacy may provide a way to understand "reality" or the means to construct a better one.
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Gallico, Vittoriano. "L'influenza di Federico Fellini e di Martin Scorsese sull'opera di Paolo Sorrentino." Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2005.
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Paolo Sorrentino est un réalisateur et écrivain italien contemporain, né à Naples en 1970. Dès son premier longmétrage, intitulé L’uomo in piu (2001), nous relevons un intérêt critique régulier vis-à-vis de ses oeuvres cinématographiques et, par la suite, littéraires. Les prix récemment décernés à l’auteur napolitain, notamment pour La grande bellezza (2013), n’ont fait qu’accroître la curiosité des commentateurs. Comptant autant d’admirateurs que de détracteurs chez les critiques journalistiques, Sorrentino est aujourd’hui l’un des auteurs cinématographiques les plus célèbres d’Italie, ainsi que l’un des réalisateurs italiens les plus connus à l’international. Sa notoriété auprès du grand public s’est sans doute accrue dernièrement, grâce aux deux séries télévisées qu’il a lui-même réalisées : The young pope (2016) et The new pope (2020). Lors du discours qu’il adressa à l’académie des Oscars après avoir remporté le prix du meilleur film étranger en 2014, Sorrentino cita et remercia ses sources d’inspiration cinématographiques : Federico Fellini et Martin Scorsese. C’est à partir de la volonté du plus jeune réalisateur d’inscrire ses oeuvres dans le sillage des deux mentors que nous avons élaboré une étude sur les influences de Fellini et de Scorsese sur Sorrentino. Dans notre travail nous nous sommes concentré sur les traits distinctifs du cinéma et de la littérature de Sorrentino. Parallèlement, nous avons identifié des affinités et des dissonances avec les oeuvres de Fellini et de ScorsesePaolo Sorrentino is an Italian filmmaker and writer, born in Naples in 1970. Ever since his first feature (L’uomo in piu, 2001), reviewers have been showing a growing interest in Sorrentino’s work. Recently, some award-winning films, such as La grande bellezza (2013) increased spectators’ curiosity and led to various scientific articles. Having as many detractors as admirers, Sorrentino is one of the main Italian filmmakers nowadays, and one of the most famous Italian filmmakers in the world. Recently released TV shows The young pope (2016) and The new pope (2020) contributed to build his international success. They also turned out to be interesting subjects for critics to work on. When winning Best Foreigner Film Academy Award in 2014, Sorrentino thanked his sources of inspiration: Federico Fellini and Martin Scorsese. Therefore, in the following research, we have studied the influences of the two mentors on Sorrentino’s films and novels. We have focused our attention on Sorrentino’s distinctive cinematographic and literary particularities and, at the same time, pointed out similitudes and dissimilarities with Fellini and Scorsese
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Silva, Neemias Oliveira da. "Carpe Diem: rituais cotidianos no Satyricon - Petrônio e Fellini." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2732.
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Previous issue date: 2009-09-09Fundo Mackenzie de Pesquisa
This study aims to map out a discussion about the daily ritual inserted on the filmic work Satyricon of Federico Felini. This work includes the ritual, in latin "ritualis", as a set of practices of man, replete of symbolic values which have been recreated and incorporated by the film industry. Therefore the analysis of filmic work will be based on Satyricon of Petronius literary work which was written in the first century AD. The bridge to understand two separate worlds, the contemporary and the classic, is the focus on director and producer of movie: Federico Fellini. The popular festivals, the dance, the mysticism, the religion are human expressions that are used for mediation in cultural traditions of a particular social group and that began to integrate itself in the film language. From this perspective, we try to map the daily rituals and representations of individuals which are include on own time and space. In this way, the methodology used to analyse the movie and literary work will be based in the reading of the bibliographic material. Through of the analysis of the filmic work Satyricon of Federico Fellini, we will examine how far the Epicuru's philosophy of Carpe Diem is inserted in daily rituals and how the film industry uses the ceremonial language.
Este estudo tem por objetivo traçar uma discussão sobre os rituais cotidianos inseridos na obra fílmica o Satyricon de Federico Fellini. Este trabalho compreende o ritual, no latim ritualis, como um conjunto de práticas do homem, repleta de valores simbólicos aos quais foram recriadas e incorporadas pela indústria cinematográfica. Portanto, a análise da obra fílmica será baseada na obra literária Satyricon de Petronius escrita no século I d.C. A ponte para compreender dois mundos, do Clássico ao contemporâneo, é o foco no diretor e produtor do filme: Federico Fellini. As festas populares, a dança, o misticismo, a religião são expressões humanas que servem de mediação das tradições culturais de um determinado grupo social e que passou a se integrar na linguagem cinematográfica. Nessa perspectiva, nós buscamos mapear os rituais cotidianos e as representações dos indivíduos inseridos em seu próprio tempo e espaço. Desta forma, a metodologia usada para analisar o filme e a obra literária será baseada na leitura do material bibliográfico. Através da análise da obra fílmica Satyricon de Federico Fellini, nós analisaremos o quanto da Filosofia de Epicuro do Carpe Diem está inserida nos rituais cotidianos e como a indústria cinematográfica usa a linguagem ritualística.
Books on the topic "Fellini, Federico"
More sourcesBook chapters on the topic "Fellini, Federico"
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Waller, Marguerite R. "Introduction." In Federico Fellini, edited by Francis Burke and Marguerite R. Waller, 1–25. Toronto: University of Toronto Press, 2002. http://dx.doi.org/10.3138/9781442674837-005.
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Pamerleau, William C. "Authenticity in the Films of Federico Fellini." In Existentialist Cinema, 165–92. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230235465_8.
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Cardullo, R. J. "The Artistic Achievement of Federico Fellini: The Nights of Cabiria as Exemplum." In Teaching Sound Film, 73–88. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_7.
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FELLINI, FEDERICO. "FEDERICO FELLINI." In Listening, 107–18. University of Minnesota Press, 2020. http://dx.doi.org/10.5749/j.ctvz93950.10.
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"List of Illustrations." In Federico Fellini, ix—x. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-001.
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"Acknowledgments." In Federico Fellini, xi—xiv. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-002.
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"Preface." In Federico Fellini, xv—xviii. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-003.
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"1. Fellini, Painting on Film." In Federico Fellini, 1–21. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-004.
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"2. Giulietta degli spiriti : Symbolist Virgins Meet Decadent Femmes Fatales in Art Nouveau Interiors." In Federico Fellini, 22–51. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-005.
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"3. Toby Dammit : Rembrandt Meets Velázquez on Screen." In Federico Fellini, 52–84. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442669581-006.
Full textReports on the topic "Fellini, Federico"
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Galenson, David, and Joshua Kotin. Filming Images or Filming Reality: The Life Cycles of Movie Directors from D.W. Griffith to Federico Fellini. Cambridge, MA: National Bureau of Economic Research, July 2005. http://dx.doi.org/10.3386/w11486.
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