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Journal articles on the topic 'Fellini, Federico'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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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 (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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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 (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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4

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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5

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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6

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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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», 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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8

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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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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11

Pintor Iranzo, Ivan. "The gestures of Hermes: Federico Fellini as an interpreter and circulating agent of images." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 83–100. http://dx.doi.org/10.1386/jicms_00052_1.

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Based on its relationship to comic books, this article proposes an iconographic study of the public figure of Federico Fellini in terms of the Hermes archetype. With the aim of explaining how Fellini’s image has been interpreted from different visual perspectives, I consider two basic questions: what relationship does Fellini have to the images of himself and of Italian culture? And why have images in Fellini’s films and his own public image been the object of constant reinterpretations in film, advertising and on social networks? Focusing on the rereading of Fellini’s image in the comics of Milo Manara, this article explores a phenomenon that distinguishes Fellini’s filmmaking: his role as a circulator of images of classical and popular culture out of the past and into the future. The figure of Hermes, the god of mediation, constitutes the archetype through which we can understand this central role of Fellini.

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12

Forti-Lewis, Angelica. "Review: The Cinema of Federico Fellini." Forum Italicum: A Journal of Italian Studies 28, no. 1 (March 1994): 166–68. http://dx.doi.org/10.1177/001458589402800125.

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13

Gieri, Manuela, and Charles Affron. "8 1/2: Federico Fellini, Director." Italica 67, no. 1 (1990): 53. http://dx.doi.org/10.2307/479066.

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14

Bernardini (book editor), Paola, Joanne Granata (book editor), Teresa Lobalsamo (book editor), Alberto Zambenedetti (book editor), and Francesca Della Ventura (review author). "Federico Fellini. Riprese, riletture, (re)visioni." Quaderni d'italianistica 38, no. 1 (October 18, 2018): 298–300. http://dx.doi.org/10.33137/q.i..v38i1.31227.

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15

Lemos, Anna Paula Soares. "Blocknotes di um regista." Scriptorium 6, no. 2 (December 31, 2020): e36296. http://dx.doi.org/10.15448/2526-8848.2020.2.36296.

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Propõe-se neste artigo reconhecer I clowns (1970) de Federico Fellini - feito para o projeto Block-notes di un Regista da RAI TV -, como filme documento-ficcional. Este tom autoral de documentar, próprio de Federico Fellini, que aparece de variadas formas nos seus últimos filmes, será explorado em I clowns como evocação, como um estado clown que figura, desfigura e refigura em fotografias, as vozes narrativas, os sons e as sombras.

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16

Dick, Bernard F. ": The Cinema of Federico Fellini . Peter Bondanella." Film Quarterly 46, no. 4 (July 1993): 34. http://dx.doi.org/10.1525/fq.1993.46.4.04a00120.

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17

Inglis, David, and Chris Thorpe. "Catwalk Catholicism: On the Ongoing Significance of Federico Fellini’s Ecclesiastical Fashion Show." Religions 10, no. 9 (September 9, 2019): 520. http://dx.doi.org/10.3390/rel10090520.

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In Fellini-Roma (1972), the film director Federico Fellini includes a sequence about an imaginary ecclesiastical fashion show, a display of ever more outlandish clerical clothing designs. Fellini brought together various elements that, in conventional cultural coding, do not seem to fit together: secular fashion design and catwalks, and Catholic practice and ceremonial. The sequence juxtaposes and intermingles these apparent incompatibles. Surprisingly little scholarly attention has been paid to the nature and significance of this sequence. Yet it is complex, being simultaneously satirical and empathetic, as well as camp and carnivalesque. The paper reaches back in time, reviewing the history of Catholic vestments, to show that the sequence also dramatizes the fact that sartorial fashion and Church garb have overlapped and informed each other historically. The appeal of the sequence for various types of audience has been enhanced in the internet age, and the paper considers how it has become an increasingly ubiquitous reference-point for the fashion industry, bloggers, and cultural critics, especially when the latter want to thematize controversies about male homosexuality in the Church today. Fellini’s presentation of catwalk Catholicism is both a rich object of scholarship, and a multivalent vehicle used by actors for various contemporary purposes.

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18

Teive, Hélio Afonso Ghizoni, Paulo Caramelli, and Francisco Eduardo Costa Cardoso. "Neurology in Federico Fellini?s work and life." Arquivos de Neuro-Psiquiatria 72, no. 9 (September 2014): 735–37. http://dx.doi.org/10.1590/0004-282x20140088.

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The authors present a historical review of the neurological diseases related to the famous moviemaker Federico Fellini. There is an account of diseases depicted on his movies as well as his ischemic stroke and consequent neurological deficit - left spatial neglect.

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19

Couté, Pascal. "La Strada de Federico Fellini : un film franciscain ?" Double jeu, no. 13 (December 31, 2016): 23–35. http://dx.doi.org/10.4000/doublejeu.331.

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20

Arévalo, Diego. "Por siempre jóvenes. Los inútiles de Federico Fellini." Ventana Indiscreta, no. 013 (September 4, 2015): 74. http://dx.doi.org/10.26439/vent.indiscreta2015.n013.438.

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21

Zonta, Claudio. "Daniel Pennac and Federico Fellini: Life is dream." La Civiltà Cattolica, English Edition 4, no. 5 (May 15, 2020): 107–10. http://dx.doi.org/10.32009/22072446.0520.10.

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22

Aldouby (book author), Hava, and Albert Sbragia (review author). "Federico Fellini. Painting in Film, Painting on Film." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 267–69. http://dx.doi.org/10.33137/q.i..v36i1.26295.

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23

Burke (book author), Frank, and Giuliana Sanguinetti Katz (review author). "Federico Fellini: "Variety Lights" to "La Dolce Vita"." Quaderni d'italianistica 7, no. 2 (October 1, 1986): 269–70. http://dx.doi.org/10.33137/q.i..v7i2.11012.

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24

Saviello, Daniela, Abeer Alyami, Maddalena Trabace, Rodorico Giorgi, Piero Baglioni, Antonio Mirabile, and Daniela Iacopino. "Plasmonic colloidal pastes for surface-enhanced Raman spectroscopy (SERS) of historical felt-tip pens." RSC Advances 8, no. 15 (2018): 8365–71. http://dx.doi.org/10.1039/c7ra13464a.

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25

Leotta, Alfio. "Sotto il segno di Federico Fellini, Paolo Fabbri (2019)." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 159–60. http://dx.doi.org/10.1386/jicms_00058_5.

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26

Reia-Baptista, Vitor. "Cinematographic analysis of «La dolce vita»: the twelve heresies." Comunicar 10, no. 19 (October 1, 2002): 156–61. http://dx.doi.org/10.3916/c19-2002-27.

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The author analyses how Federico Fellini represents in «La dolce vita» the social, cultural, sexual and politic characteristics of a generation who has grown up in a strict latin and catholic context. Ethic, aesthetic and cinematographic keys of this film Nuestro aprendizaje cultural, mediático y fílmico, como generación educada en un contexto sociocultural latino y esencialmente católico, intelectual, social, sexual y políticamente estigmatizado fue transfigurado por Federico Fellini en la película «La dolce vita». El autor analiza las claves proféticas, éticas, estéticas y cinéfilas de esta obra que considera la piedra angular de nuestra cultura cinematográfica. Para ello aborda cinco perspectivas en las que analiza lo que él llama las «doce herejías» del film.

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27

Romanelli, Claudia. "From dialogue writer to screenwriter: Pier Paolo Pasolini at work for Federico Fellini." Journal of Screenwriting 10, no. 3 (September 1, 2019): 323–37. http://dx.doi.org/10.1386/josc_00007_1.

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Pier Paolo Pasolini was a poet, novelist, essayist and filmmaker who also worked as a screenwriter for some of the most important Italian directors including Mario Soldati, Mauro Bolognini and Bernardo Bertolucci, to name a few. While Pasolini’s poems, novels and films are widely studied, his work as a screenwriter has not attracted much critical attention. This is partly because Pasolini tended to collaborate with directors whose artistic tastes were very different from his own, making it difficult to understand what he could possibly bring to the films on which he worked. The fact that he took his first steps in the screenwriting teams for which Italian cinema was famous has also contributed to downplay his screenwriting activity. One such example is his contribution to Federico Fellini’s screenplays. Fellini first approached Pasolini because he wished to revise the dialogue in Le notti di Cabiria, which he thought lacked the authentic feel of the language spoken in the Roman slums where the film took place. Although critics have always assumed that Fellini discarded Pasolini’s revisions to his scripts, archival sources tell a different story, revealing Pasolini’s key contribution to Fellini’s work and his eagerness to leave a lasting impression on it.

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28

Welle, John P. "A Companion to Federico Fellini, Frank Burke, Marguerite Waller and Marita Gubareva (eds) (2020)." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 149–54. http://dx.doi.org/10.1386/jicms_00056_5.

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29

Albertocchi, Giovanni. "Il «sistema» della memoria in Amarcord di Federico Fellini." Quaderns d’Italià 3 (November 2, 1998): 197. http://dx.doi.org/10.5565/rev/qdi.436.

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30

Surma-Gawłowska, Monika. "Ripetizione, plurivocalità e autobiografismo nel cinema di Federico Fellini." Romanica Cracoviensia 18, no. 4 (2018): 209–15. http://dx.doi.org/10.4467/20843917rc.18.022.9594.

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31

Dick, Bernard F. "Review: The Cinema of Federico Fellini by Peter Bondanella." Film Quarterly 46, no. 4 (1993): 34. http://dx.doi.org/10.2307/1213151.

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32

Stubbs, John C. ": Perspectives on Federico Fellini . Peter Bondanella, Cristina Degli-Esposti." Film Quarterly 48, no. 3 (April 1995): 53–54. http://dx.doi.org/10.1525/fq.1995.48.3.04a00130.

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33

Paragis, María Paula, and Florencia González Pla. "El Seminario de la Ética a través del cine." Ética y Cine Journal 7, no. 2 (July 3, 2017): 55. http://dx.doi.org/10.31056/2250.5415.v7.n2.18979.

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Reseña de "El Seminario de la Ética a través del cine. Lecturas lacanianas de Charles Chaplin, Jules Dassin, Federico Fellini, Woody Allen, Alfred Hitchcock, Vince Gilligan, Krzysztof Kieslowski, George Stevens, Pedro Almodóvar y los hermanos Marx"

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34

Porcarelli, Angela. "Dreams and desire. The cinema of Pier Paolo Pasolini and Federico Fellini: A conversation with Roberto Chiesi." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 97–107. http://dx.doi.org/10.1386/jicms_00104_7.

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In this interview, Roberto Chiesi talks about the personal and professional relationship between Pier Paolo Pasolini and Federico Fellini. He describes their experience with neorealism and how each of them moved past it to develop an original and unique cinematographic style. He focuses on specific elements of their cinema, such as the importance of the oneiric dimension and their conception of the sacred. Chiesi explains the central role civic involvement had in the work of Pasolini; his last movie Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom) (Pasolini 1975) is centred on the dramatic process of degradation caused by the new consumeristic ideology. Fellini, instead, was primarily concerned with the corruptive vulgarity of the new commercial television. Highlighting the importance of Pasolini and Fellini’s legacy, Chiesi concludes the interview by saying that the two artists had the foresight to imagine the dreadful long-term consequences the events of their time would produce, consequences we are experiencing in today’s society.

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35

Coladonato, Valerio. "‘Mon cher Fédérico’: Fellini and the Cannes Film Festival." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 117–32. http://dx.doi.org/10.1386/jicms_00054_1.

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Between the mid-1950s and the mid-1960s, the Cannes Film Festival contributed to the rise of Federico Fellini’s image as an internationally acclaimed Italian auteur. This article situates the relationship between the director and the festival within the respective cultural, industrial and historical contexts. First, it discusses the role of festival director Robert Favre Le Bret in selecting and promoting Italian auteur cinema. Then it focuses on how the system of co-production between Italy and France impacted Fellini’s work and the Festival’s embrace of his films. Finally, it examines how the French press constructed the image of Fellini as an ‘intellectual celebrity’. By grounding the analysis in documents from the Cinémathèque Française (French Film Archive), the Archivio Centrale dello Stato (Central State Archive) in Rome, and other primary sources from both Italy and France, this article provides a synergic view of the conditions for the emergence of Fellini’s public image through the Cannes Film Festival.

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36

Butler, June. "Female Liberation and Autonomy in the Films of Federico Fellini." Studies in Arts and Humanities 1, no. 1 (June 4, 2015): 43–53. http://dx.doi.org/10.18193/sah.v1i1.17.

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37

Marrone, Gaetana. "Federico Fellini as Auteur: Seven Aspects of His Films (review)." Italian Culture 24, no. 1 (2007): 252–54. http://dx.doi.org/10.1353/itc.2007.0018.

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38

Parmeggiani, Francesca. "Kieślowski Re-read: On Reality, Realism and Cinema." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 61–71. http://dx.doi.org/10.14746/i.2018.33.06.

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By referencing Italian auteurs Ermanno Olmi and Federico Fellini, this paper offers a re-reading of Krzysztof Kieślowski’s reflections on cinema that places the practice of describing reality and uttering “a statement of fact” about people’s lives and the world as a long-lasting, structuring foundation of his episteme and workshop.

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39

Fellini, Federico, and Gideon Bachmann. "A Guest in My Own Dreams: An Interview with Federico Fellini." Film Quarterly 47, no. 3 (1994): 2–15. http://dx.doi.org/10.2307/1212955.

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40

Stubbs, John C. "Review: Perspectives on Federico Fellini by Peter Bondanella, Cristina Degli-Esposti." Film Quarterly 48, no. 3 (1995): 53–54. http://dx.doi.org/10.2307/1213301.

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41

Fellini, Federico, and Gideon Bachmann. "A Guest in My Own Dreams: An Interview with Federico Fellini." Film Quarterly 47, no. 3 (April 1994): 2–15. http://dx.doi.org/10.1525/fq.1994.47.3.04a00020.

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42

Bondanella, Peter. "City of Women (La città delle donne) dir. by Federico Fellini." Modernism/modernity 20, no. 3 (2013): 619–21. http://dx.doi.org/10.1353/mod.2013.0063.

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43

Gaillard, Christian. "À propos du Libro dei sogni de Federico Fellini. Crash et deuil sur la page. Un curieux problème de datation." Phanês Journal For Jung History, no. 3 (December 19, 2020): 116–62. http://dx.doi.org/10.32724/phanes.2020.gaillard.

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Tout au long de sa vie, Fellini s’est plu à dessiner à tout propos et en tous lieux. En 1970, son analyste, le Dr Bernhard, l’a invité à dessiner et à écrire ses rêves. Ce qu’il a fait bien au-delà de la fin de cette analyse, en 1975.Après de longues disputes entre ses héritiers, ces dessins et écrits, qu’il avait réunis sous le titre Il Libro dei sogni, ont été publiés par la Fondazione Fellini, de Rimini, qui a organisé un congrès à ce propos en 2007. L’essai qu’on va lire s’arrête à deux dessins du Maestro, qui ne se trouvent pas dans ce Libro, et qui ne sont pas datés. D’où une enquête qui s’appuie sur une série d’indices et de repères pour tenter de dater ces deux dessins, aujourd’hui conservés à la Fondation Fellini pour le cinéma, à Sion, en Suisse. Cette enquête conduit à une réflexion qui porte sur la thématique et la dynamique internes de l’œuvre et de la vie de l’artiste, et plus généralement sur celles de la création. KEY WORDS Fellini, Libro dei sogni, Dr Bernhard, Jung, Livre Rouge.

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44

Lemos, Anna Paula Soares. "Os procedimentos críticos de escrita do cineasta italiano Federico Fellini em Veneza, o ator e o inferno." Rizoma 7, no. 1 (January 5, 2019): 151–62. http://dx.doi.org/10.17058/rzm.v7i1.11804.

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Traça-se neste artigo a perspectiva autoral crítica do cineasta italiano Federico Fellini que exacerba, tal caricatura, as fragilidades do rosto do cinema e da indústria cultural italiana tendo como fio condutor sua autoficção. Como metodologia, traduziremos e analisaremos parte dos argumentos Veneza, L’Attore e L’Inferno, ditos inéditos e originalmente direcionadas ao projeto Blocknotes di um Regista, que estabelecem uma arquitetura reveladora de seus procedimentos de escrita para o cinema.

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45

Перевозчикова, Кристина Викторовна. "Concerto for Conductor and Orchestra by Nino Rota and Federico Fellini: A Rehearsal of the Apocalypse." Музыкальная академия, no. 3(771) (September 30, 2020): 196–205. http://dx.doi.org/10.34690/96.

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В знаменитом фильме Федерико Феллини с музыкой Нино Роты символически, через судьбы музыкантов выражена идея катастрофического обнищания человеческого духа, неминуемо ведущая общество к Апокалипсису. Кинолента построена по законам концертной сонатной формы и обладает четко выраженной музыкально-кинематографической драматургией, способствующей постижению глубокого философского смысла, заложенного великим режиссером. Музыкальная ткань Нино Роты, составленная из оркестровых фрагментов, шумов, звуковых пятен, точно передает концепцию Феллини, сохраняя при этом собственную семантику. The famous film by Federico Fellini with music by Nino Rota symbolically expresses-through the fate of musicians - the idea of catastrophic impoverishment of a human soul which inevitably leads the society to the Apocalypse. The film is based on the principles of a concerto sonata form and has a certain musical and cinematic dramaturgy which helps the comprehension of deep philosophical meaning laid down by the great director. Nino Rota's musical score which consists of orchestral fragments, sounds, and clusters, accurately conveys Fellini's concept, while maintaining its own semantic.

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Canestrari, Renzo. "Arte e psicologia: riflessioni sull’itinerario artistico di Federico Fellini, creatività e passaggio dell’età di mezzo." Rivista di estetica, no. 48 (December 1, 2011): 55–64. http://dx.doi.org/10.4000/estetica.1534.

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노철환. "Reinterpretation about the Narrative Structure of 8½ by Federico Fellini －Argument with Christian Metz’s interpretation－." Film Studies ll, no. 59 (March 2014): 63–96. http://dx.doi.org/10.17947/kfa..59.201403.003.

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Haaland, Torunn. "Inspiring Fellini: Literary Collaborations behind the Scenes by Federico PacchioniFederico Pacchioni. Inspiring Fellini: Literary Collaborations behind the Scenes. University of Toronto Press. xii, 244. $32.95." University of Toronto Quarterly 85, no. 3 (August 2016): 527–29. http://dx.doi.org/10.3138/utq.85.3.527.

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Soares, Leonardo Francisco. "A ópera aberta: A força do destino, de Nélida Piñon, e E la nave va, de Federico Fellini." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 250–61. http://dx.doi.org/10.17851/2317-2096.8..250-261.

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Resumo: Análise dos processos contemporâneos de produção mimética e de representação, a partir do romance A força do destino e do filme E la nave va, com vistas a articular os conceitos e noções de imagem-cristal, espetacularização, dialogismo, polifonia e desreferencialização como operadores constitutivos dessas narrativas.Palavras-chave: literatura contemporânea; representação; cinema ópera.Abstract: An analysis of the contemporary processes of mimetic production and representation considering Nélida Piñon’s A força do destino and Federico Fellini’s E la nave va, which intends to articulate the concepts of spectacularization, dialogism, polyphony, and others, as constituent parts of these narratives.Keywords: contemporary literature; representation; cinema; opera.

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Gural-Migdal, Anna, and Filippo Salvatore. "Federico Fellini théoricien, protagoniste et personnage dans 8 1/2 et intervista." Quaderni d'italianistica 20, no. 1-2 (October 1, 1999): 119–34. http://dx.doi.org/10.33137/q.i..v20i1-2.9442.

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