Segui questo link per vedere altri tipi di pubblicazioni sul tema: Federico Fellini.
Tesi sul tema "Federico Fellini"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-37 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Federico Fellini".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
1
Eades, Caroline. "Fellini-Satyricon". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376047875.
Testo completo
2
Méjean, Jean-Max. "Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini". Paris 7, 1992. http://www.theses.fr/1992PA070076.
Testo completoAbstract (sommario):
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
3
Eades, Caroline. ""Fellini-Satyricon"". Paris 3, 1986. http://www.theses.fr/1987PA030125.
Testo completoAbstract (sommario):
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
4
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/.
Testo completo
5
Nuti, Laura. "La ricezione di Federico Fellini in Francia". Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20021.
Testo completoAbstract (sommario):
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
6
Costa, Fabienne. "Le corps sous influences dans l'oeuvre de Federico Fellini". Paris 3, 2000. http://www.theses.fr/2000PA030149.
Testo completoAbstract (sommario):
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.
7
Deaca, Mircea-Valeriu. "Carnavalesque de second degré dans l'oeuvre de Federico Fellini". Paris 3, 1995. http://www.theses.fr/1995PA030123.
Testo completoAbstract (sommario):
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
8
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.
Testo completoAbstract (sommario):
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.
9
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.
Testo completoAbstract (sommario):
Made available in DSpace on 2016-04-18T21:31:59Z (GMT). No. of bitstreams: 3
Neemias Oliveira da Silva1.pdf: 1241780 bytes, checksum: 02c97afbbd65956b40b3c9fbc908aae9 (MD5)
Neemias Oliveira da Silva2.pdf: 3045962 bytes, checksum: d181cc5d3cae4209cbd6edae00c4bb7c (MD5)
Neemias Oliveira da Silva3.pdf: 859939 bytes, checksum: 3c76f13b2174ec695c5bff5ef2021e0c (MD5)
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.
10
Gallico, Vittoriano. "L'influenza di Federico Fellini e di Martin Scorsese sull'opera di Paolo Sorrentino". Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2005.
Testo completoAbstract (sommario):
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
11
Moura, Carolina Bassi de. "A construção plástica dos personagens cinematográficos - uma abordagem feita a partir da obra de Federico Fellini". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-10112010-154410/.
Testo completoAbstract (sommario):
Esta pesquisa analisa o caráter fundamental dos recursos plásticos de figurino e cenário para o processo de construção do personagem no cinema. Verifica a importância de uma direção de arte mais livre ao fazer suas composições, ao optar por formas e cores que sejam mais coerentes com ideias e sensações do que com reproduções realistas. O estudo se faz a partir da obra cinematográfica de Federico Fellini, diretor despreocupado com concepções realistas e criador de um processo criativo muito próprio. Serão considerados especificamente os filmes La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit1 (1967), por serem emblemáticos desta construção plástica fortemente elaborada.This research verifies the fundamental character of visual resources like costumes and scenery for the process of construction of the characters on cinema. Verifies the importance of more freedom for art direction making its compositions, opting for forms and colors more coherent with ideas and sensations than realistic reproductions. The study is made from cinematographic works of Federico Fellini, director which is unworried with realistic conceptions and which is creator of a creative process very particular. In this work will be considered specifically three films, La Strada (1954), Julieta dos Espíritos (1965) e Toby Dammit2 (1967), because of their emblematic visual construction strongly worked.
12
Diana, Jean-François Nel Noël. "L'image mentale au cinéma un regard particulier sur certaiens oeuvres de Frédérico Fellini /". Metz : Université Metz, 2008. ftp://ftp.scd.univ-metz.fr/pub/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.
Testo completo
13
Santos, Katia Peixoto dos. "O circo eletrônico em Fellini". Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5204.
Testo completoAbstract (sommario):
Made available in DSpace on 2016-04-26T18:17:55Z (GMT). No. of bitstreams: 1
Katia Peixoto dos Santos.pdf: 2971643 bytes, checksum: 1dcd4ce62c2d95affd98efd269179e84 (MD5)
Previous issue date: 2009-05-11Secretaria da Educação do Estado de São Paulo
The study starts from the Luis Renato Martins premise, which, in his book Conflito e interpretações em Fellini (1994), he countered the autobiographical cinema vogue for Fellini s work and established in its place, a more relevant and interesting trend for readings and filmic analysis, e.g.: the parody as critical weapon, the discussion of the mass culture, the fascism and its historical matrix. Getting away of the neo-realistic filmmakers, Fellini tells about the Italian s social reality throw popular shows. The artists assume a role of mediator of Fellini s critic and, from them, establish a contradiction: the arising industrial world in conflict with the Italian identity previously established. Accordingly, the construction of a more structured analysis is where this work goes, considering Fellini s filmic organization issue which converges circus, theater, television and cinema, documentary and fiction creating an intriguing audiovisual possibility provided by television language insertion in the clownish and cinematographic work of Fellini. The exogenous factor, linked with the north american influence, gets hold of the cultural italian ground, changing it. Fellini portrays the encounter between the world of the spectacle and the cinema with televisable media, which, in the path of technological development, planted root in Italian ground. Between losses and damage, the films emphasize the constant movement and adaptation of the spectacles, of the cinematographic language and the own Fellini s style forefront a new differential. Considering those implications, the study focus in the importance of the Fellini s filmic route to defend the hypothesis of the restructure of his language from the advent of TV as a means of mass communication, fact shown in his first movie realized for TV, Block Notes di un Regista (1969). In order of arguing this hypothesis, was made necessary considering and analyzing another Fellini s movies realized for TV: I Clowns (1970) e Prova d orquestra (1978). Another three movies made for cinema, nevertheless with televisable thematic, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), also was elucidated and evaluated. Therefore could have seen that Fellini s filmic aesthetics came from the popular spectacles to gain television in its languages and purposes, converging documentary and fiction, television and cinema
O estudo parte da premissa de Luis Renato Martins, na qual, em seu livro Conflito e interpretações em Fellini (1994), se contrapõe a voga de cinema autobiográfico para a obra de Fellini estabelecendo no lugar, vertentes mais interessantes e pertinentes às leituras e análises fílmicas, como por exemplo: a paródia como arma crítica, a discussão da cultura de massa, o fascismo e suas matrizes históricas. Afastando-se dos cineastas neo-realistas, Fellini conta sobre a realidade social italiana via espetáculos populares. Os artistas assumem o papel de mediadores da crítica felliniana e, a partir deles, estabelece-se uma oposição: o crescente mundo industrial em conflito com a identidade italiana anteriormente estabelecida. Nesse sentido, de construção de uma análise mais fundamentada, é que esse trabalho se envereda, considerando a questão da estruturação fílmica felliniana que converge circo, teatro, televisão e cinema, documentário e ficção criando uma intrigante possibilidade audiovisual proporcionada pela inserção da linguagem televisiva na obra clowesca e cinematográfica de Fellini. O fator exógeno, ligado à marcada influência norte-americana, se apossa do terreno cultural italiano, transformando-o. Fellini retrata o encontro do mundo dos espetáculos e do cinema com a mídia televisiva que, na esteira do desenvolvimento tecnológico, fincou raízes em solo italiano. Entre perdas e danos, os filmes ressaltam o constante movimento e adaptação dos espetáculos, da linguagem cinematográfica e do próprio estilo felliniano frente ao novo referencial. Considerando essas imbricações, o estudo privilegia a importância do percurso fílmico felliniano para defender a hipótese da reestruturação de sua linguagem a partir do advento da TV como meio de comunicação de massa, fato evidenciado em seu primeiro filme realizado para a TV, Block Notes di un Regista (1969). No intuito de argumentar essa hipótese, fez-se necessário considerar e analisar outros filmes de Fellini realizados para a TV: I Clowns (1970) e Prova d orquestra (1978). Outros três filmes feitos para o cinema, porém com temática televisiva, Ginger e Fred (1985), Intervista (1987), La Voce della Luna (1989), também foram elucidados e avaliados. Assim pôde-se constatar que a estética fílmica de Fellini partiu dos espetáculos populares para atingir a televisão em suas linguagens e propósitos, convergindo documentário e ficção, televisão e cinema
14
Schleicher, Harald. "Film-Reflexionen : autothematische Filme von Wim Wenders, Jean-Luc Godard und Federico Fellini /". Tübingen : M. Niemeyer, 1991. http://catalogue.bnf.fr/ark:/12148/cb357437462.
Testo completo
15
Mendes, Euclides Santos 1980. "Cristais de tempo : o neorrealismo italiano e Fellini". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284506.
Testo completoAbstract (sommario):
Orientador: Francisco Elinaldo TeixeiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T12:54:47Z (GMT). No. of bitstreams: 1 Mendes_EuclidesSantos_D.pdf: 1403678 bytes, checksum: 99882588c5a417d98f7a94f8e9331831 (MD5) Previous issue date: 2013
Resumo: O cineasta italiano Federico Fellini aprendeu o ofício de roteirista nos anos 1940, enquanto colaborava em filmes neorrealistas, e o manteve ao longo da sua vida. Consagrou-se internacionalmente como diretor no início dos anos 1960, ao transformar seu primevo olhar de matriz neorrealista numa reelaboração realístico-subjetiva. Fellini, por meio do neorrealismo, levou a imagem puramente ótica e sonora para além do neorrealismo, moldando-a, segundo o filósofo Gilles Deleuze, como um cristal de tempo
Abstract: The Italian filmmaker Federico Fellini learned the art of screenwriting in the 1940s, while collaborating in neorealistic movies, and mantained it throughout his life. He established himself internationally as a director in the early 1960s, when he transformed his primal neorealist matrix approach into a subjective-realistic reelaboration. Through neorealism Fellini took the pure optical-sound image beyond the neorealism, shaping it as a crystal of time, according to the philosopher Gilles Deleuze
Doutorado
Multimeios
Doutor em Multimeios
16
Perugini, Sas̆a. "The aesthetics of Fellini's art seen through its ties with popular entertainment /". Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.
Cerca il testo completoAbstract (sommario):
Thesis (Ph.D.)--Tufts University, 2001.Submitted to the Dept. of Drama. Advisers: Laurence Senelick; Jeanne Dillon. Includes bibliographical references (leaves 228-243). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
17
Amaral, Ignez Teixeira Gurgel do. "As varias faces de Cabiria". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253185.
Testo completoAbstract (sommario):
Orientador: Carlos Eduardo Albuquerque MirandaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-04T04:41:50Z (GMT). No. of bitstreams: 1 Amaral_IgnezTeixeiraGurgeldo_M.pdf: 1638056 bytes, checksum: 151fff1515b84ffbdc1afab3cb38f044 (MD5) Previous issue date: 2005
Resumo: Construção através de alegorias, cenas e imagens, dos diversos e possíveis caminhos percorridos por Cabiria, de Federico Fellini. As várias faces da prostituta Cabiria sendo desvelada num universo metafórico, literário, imaginário e fantástico através de memórias e lembranças que compõem as impressões do personagem-narrador
Abstract: Construction among allegories, scenes and images of the diverse and possible ways walked by Cabiria, by Federico Fellini. The several faces of the prostitute Cabiria being revealed in a metaphoric world as well as literary, imaginary and fantastic through memories and recollections which compose the impressions of this character-narrator
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
18
Melo, Anderson. "Poesia e movimento no cinema de Federico Fellini : ensaio sobre arte, mídia e espetáculo". reponame:Repositório Institucional da UnB, 2010. http://repositorio.unb.br/handle/10482/13746.
Testo completoAbstract (sommario):
Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2010.Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-07-24T15:09:35Z No. of bitstreams: 1 2010_AndersonMelo (2).pdf: 726884 bytes, checksum: 89acc09c5b0c0d0a2ab9171b6305bb2d (MD5)
Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-07-29T15:02:15Z (GMT) No. of bitstreams: 1 2010_AndersonMelo (2).pdf: 726884 bytes, checksum: 89acc09c5b0c0d0a2ab9171b6305bb2d (MD5)
Made available in DSpace on 2013-07-29T15:02:15Z (GMT). No. of bitstreams: 1 2010_AndersonMelo (2).pdf: 726884 bytes, checksum: 89acc09c5b0c0d0a2ab9171b6305bb2d (MD5)
O presente trabalho aborda a poesia do cinema do diretor italiano Federico Fellini como elogio da superficialidade , de modo a discutir e demonstrar como sua obra, predominantemente dissonante, se vale da materialidade e das linhas de força dos dispositivos midiáticos do espetáculo para construir um movimento de carnavalização do mundo, reprogramando os dispositivos do sistema de produção industrial que a viabilizam. Buscamos demonstrar, por um caminho diferente da análise fílmica, que a potência do cinema de Fellini não está na clássica abordagem formalista hermenêutica, mas na perspectiva da crítica cultural contemporânea que enfatiza a performance em contraponto à mímese, discutindo potência em vez de poder, singularidade em vez de identidade. A poesia cinematográfica de Fellini celebra a vida como campo de imanência cujas linhas de forças estão abertas para o devir. _______________________________________________________________________________________ ABSTRACT
This present research addresses the poetry of cinema Italian director Federico Fellini as praise of superficiality, to discuss and demonstrate how his artwork takes advantage of materiality of media devices of the spectacle to build a movement of carnivalization the world, causing the reprogramation of devices of the industrial production system that enable it. We seek to demonstrate, through a different path of film analysis, that the power of Fellini´s cinema is not in classic formalist approach or hermeneutics, but from the perspective of contemporary cultural criticism that emphasizes performance in contrast to mimesis, arguing potential rather than power, the uniqueness rather than identity. The Fellini's cinematic poetry celebrates life as a field of immanence whose lines force are open to becoming.
19
Souza, Christiane Pereira de. "A construção em abismo como construção critica em 8 1/2 de Fellini". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284876.
Testo completoAbstract (sommario):
Orientador : Roberto Berton de AngeloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-03T22:59:17Z (GMT). No. of bitstreams: 1 Souza_ChristianePereirade_M.pdf: 833306 bytes, checksum: 30a7809533a7bc033ed284029b1f4fbb (MD5) Previous issue date: 2003
Mestrado
20
Pernot, Hervé. "L'organisation du réel dans les films de Frederico Fellini". Paris 1, 2002. http://www.theses.fr/2002PA010532.
Testo completoAbstract (sommario):
Fellini ou l'imagination à la barre! Grand chef d'orchestre du fantasme, de la fantaisie, des extravagances! Créateur de personnages monstrueux, de situations aberrantes, de scènes somptueuses, de tableaux étonnants, d'ambiances merveilleuses ! Tout cela est vrai, mais Fellini est en même temps un témoin, un observateur, un chroniqueur de son temps. Dans ses films, on retrouve successivement l'Italie depuis les années 1950 jusqu'en 1980. Ses fantasmes sont inscrits dans une culture, un espace, un temps. Ce ne sont pas des fantasmagories sans rapport avec l'histoire et l'évolution de la société. Il s'agit d'images en étroite relation avec l'imagerie d'une époque. Et la façon dont elles sont mises en scène révèle la réalité des moyens techniques et cinématographiques du moment de leur production. Ainsi, I'oeuvre de Federico Fellini constitue une réalité artistique qui se nourrit des réalités que le cinéaste a côtoyées au cours de sa vie: rapports humains dans le cadre de la famille et de la société italiennes en pleine transformation de 1920 à 1993, événements historiques, l'évolution des mentalités, des modes, des techniques.
21
Abreu, Eliane Maria de. "A vida é um filme, um sonho: a (des)razão de amar em Federico Fellini". Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/15439.
Testo completoAbstract (sommario):
Made available in DSpace on 2016-04-28T20:39:09Z (GMT). No. of bitstreams: 1
Eliane Maria de Abreu.pdf: 4277577 bytes, checksum: e348aea662a72f8c959ad01563ee4b5f (MD5)
Previous issue date: 2015-08-28Conselho Nacional de Desenvolvimento Científico e Tecnológico
This research has as the main objective establish connections between the theme of love, one of the most important aspects in the work of the psychiatrist Ludwig Binswanger, and the ways of being of the Italian filmmaker Federico Fellini's characters: Cabíria, in Le notti di Cabíria, Guido, in 8 e ½, and the musicians in Prova d'orchestra. The phenomenological-existential approach, which Binswanger is one of the greatest representatives, is used in this paper as general theoretical fitting. Along with the love matter, Fellini's characters analysis gradually made room for the unreason and dreams matters. As the characters's life stories are closely related to the clownery theme, the clown's way of being is omnipresent as organizing course of the analysis. The clown's vibration or way of being, in their correlation with the unreason and the world of dreams, was used as one of the main interpretation aspects, given the importance of clowns and the circus in the filmmaker's life and work. The development of this research was leaded by the following question: would love be a gag to Federico Fellini and his characters?
Esta pesquisa tem como objetivo central estabelecer conexões entre o tema do Amor, um dos principais eixos da obra do psiquiatra Ludwig Binswanger, e os modos de ser dos personagens do cineasta italiano Federico Fellini: Cabíria, do filme Noites de Cabíria, Guido, de Fellini 8 e ½, e os músicos, de Ensaio de orquestra. A abordagem fenomenológico-existencial, da qual Binswanger é um dos maiores representantes, é utilizada como enquadre teórico geral do trabalho. Ao lado da questão do amor, a análise dos personagens fellinianos abriu gradativamente espaço para a questão da desrazão e dos sonhos. Como as histórias de vida dos personagens estão estreitamente vinculadas ao tema da palhacice, a questão do modo de ser do palhaço é praticamente onipresente como vertente organizadora da análise. A vibração, ou modo de ser do palhaço, em suas correlações com a desrazão e o mundo dos sonhos, foi ainda utilizada como um dos principais eixos de interpretação dada a importância da presença dos palhaços e do circo na vida e obra do cineasta. A seguinte interrogação norteou todo o desenvolvimento do trabalho: seria o amor uma palhaçada para Federico Fellini e seus personagens?
22
Diana, Jean-François. "L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini". Metz, 1995. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.
Testo completoAbstract (sommario):
Le but de cette thèse est tout d'abord d'élaborer les éléments d'une théorie générale de l'image mentale au cinéma à partir d'oeuvres majeures issues de l'histoire du cinéma et plus précisément de certains films de Frederico Fellini, principalement Huit et Demi (1963) et Juliette des esprits (1965). La première partie se consacre aux paramètres d'une représentation spécifique en étudiant d'une part, les éléments du contenu d'univers mentaux cinématographiques (spatialité diégétique et mentalisée, temporalité diégétique et mentalisée, actorialité diégétique et mentalisée) et d'autre part, en s'intéressant aux stratégies d'expression (matières de l'expression et procédés d'écriture) et à quelques figures filmiques mobilisées (fondu-enchaïné, surimpression, travelling subjectif et modalisé, panoramique subjectif et modalisé, image subjective). L'objectif de la première partie est donc de mettre en évidence la complexité multidimensionnelle que réclame l'image mentale cinématographique. Pour ce faire une approche du synchrétisme au cinéma est proposée. La seconde partie s'inscrit dans une perspective narratologique et se soucie de préciser la place que l'image mentale cinématographique offre à tout type d'observateur. En reprenant la hiérarchie des instances du film (méga-narrateur, narrateurs implicite et explicite), l'étude se préoccupe ainsi des relations entre le voir et le vu, le voir et le sa voir mobilisées par les différents niveaux de récits. En construisant la figure d'une instance intermédiaire nommée tiers observateur, la progression théorique souhaite élaborer une réflexion sur l'affichage d'une dimension subjective de l'énonciation au cinémaThe aim of this thesis is, first of all, to work out elements for an overall theory about the film mental image, from main works in the history of the cinema, precisely from some films by Frederico Fellini, and most of all from Otto e mezzo (1963) and Giuletta degli spiriti (1965). The first part deals with the parameters of a specific representation, firstly by studying the elements included in the contents of film mental universes (diegetic and mentalized spatiality, diegetic and mentalized temporality, diegetic and mentalized actoriality), and secondly by tackling the expression strategies (expression purports and writing devices) along with the used filmic figures (fade over, exposure, subjective image). The overall purpose of this first part is therefore to hightlight the multidimensional complexity of the film mental image ; to this end, an approach to the syncretism is exposed. The second part refers to the narratology and tries to settle the status conferred by the cinematographic mental image to every type of observer. By mentionning the filmic instances hierarchy (mega-narrator, implicit and explicit narrators), the study is thus devoted to the links between, on the one hand, the seeing and the beeing seen, and, on the the other hand, the seeing and the seeing oneself ; these links are taken into account in the different narrative levels. Building up the figure of an intermediate instance called third observer, the theorical progression of this thesis is to work out an issue over a subjective approach to the cinematic enunciation
23
Centorrino, Clizia. "Le réel et son dépassement chez Alain Resnais et Federico Fellini : des origines aux années du rêve". Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL034.
Testo completoAbstract (sommario):
Ce projet propose une étude comparée de deux cinéastes essentiels, dont l'œuvre montre un fort rapport à l'onirisme et à l'imaginaire : Alain Resnais et Federico Fellini. Ayant commencé à la même époque (après la Seconde Guerre mondiale), ils ont traversé plusieurs périodes en parallèle. Nombre d'aspects les rapprochent, malgré leurs différences de styles et de cultures. Alain Resnais porte un regard sur l'histoire contemporaine, mais travaille également sur la vision subjective, la mémoire individuelle, et divers états de conscience. Fellini porte un regard acerbe sur la bourgeoise italienne, et propose simultanément un vagabondage dans les consciences et l'inconscient marqué par le merveilleux et l'onirique. Les deux cinéastes refusent de limiter la réalité « au constat purement objectif d'un monde scientifiquement analysable » pour montrer une « autre réalité », qu'il s'agit ici de questionner à l'aide de différentes théories (psychanalytiques, littéraires, philosophiques…)This project proposes a comparative study between two essential film directors: Alain Resnais and Federico Fellini. Their work shows a strong relation with the oneiric and the imaginary. They began in the same period (after the Second World War) and they shared the same historical experiences in two different countries. Despite a difference of style and culture, a lot of aspects approach them. Alain Resnais focuses on contemporary history, but he works also on the subjective vision, individual memory, and different states of consciousness. Fellini focuses on the Italian bourgeoisie and he proposes simultaneously a kind of vagrancy in the conscious and in the unconscious, always marked by the oneiric. The two film directors refuse to limit the reality «to an objective analysis of a world scientifically analyzable». They want to show an «other reality». We want to interrogate this reality with the help of different theories (psychoanalytic, literary, philosophical…)
24
Houcke, Anne-violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100170.
Testo completoAbstract (sommario):
Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinémaNeorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films
25
Sibra, Sylvie. "Federico Fellini et la lumière : poïétique du monde sensible pour une lumière qui s'offre à voir et à écouter". Toulouse 2, 2008. http://www.theses.fr/2008TOU20012.
Testo completoAbstract (sommario):
Ce travail de recherche est une quête exploratoire de la lumière dans l’oeuvre du cinéaste Federico Fellini (1920-1993). Nous y découvrirons d’immenses paysages éclairés par une foi profonde en la création. Cette étude se veut d’apporter des éclaircissements par touches successives sur la singularité de l’homme et sur ses réalisations à travers l’étude d’une lumière qui se donne à voir et à écouter. Des écrits qui cherchent à démontrer dans l’intimité, la vitalité et la poésie des images, la nature génératrice de ce créateur hors-norme au grand coeur mais aussi la communion des êtres lors d’instants de véritables grâces qui marquent l’image du sceau de l’éternité. Un cinéaste qui a eu le courage et l’audace de nous dévoiler, de nous révéler subtilement sa réalité intérieure et extérieure du monde, de la société, de l’homme, par la lumière. Une lumière qui fait des moments les plus invraisemblables les moments les plus crédibles, les plus réels, les plus touchants du cinéma. Une lumière qui plonge le regard dans les profondeurs de l’innocence et ainsi mettre à nu l’homme devant le monde. Une thèse vécue comme une expérience s’interrogeant sur cette lumière fellinienne qui a marqué le temps et non une époque ou un siècleThis research is an exploratory pursuit of light in the work of the renowned film-maker Federico Fellini (1920-1993). We’ll discover huge enlightened sceneries that witness to fellini’s very deep creative soul. This study aims gradually to bring some clarifications about the peculiarities of this man and his productions, through the study of light, that meets our eyes and even our ears! Fellini’s Writings, not only, show the strength and the poetry of the images, the generative nature of this exceptional great-hearted creator; but also, the absolute moments of grace released from human interaction. That marks fellini’s print for eternity. Fellini is one of the film-maker who succeeded to reveal boldly but subtly the interior and the exterior reality of men, of society and of the whole world that surrounds us, through the light. A light which makes the most improbable, credible and the most touching moments of the cinema. This light looks at the heart of innocence and thus, makes human beings face the world. This thesis is lived as an experience that’s wondering about the fellinien’s light that has marked the times and not only an era or a century
26
Santos, Eduardo Andrade dos. "O papel da cenografia na obra de Federico Fellini: Importância e significados do espaço cênico em Julieta dos espíritos eSatyricon". Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/JSSS-7WLH26.
Testo completoAbstract (sommario):
The aim of this research is to study the scenic apparatus as an active element in the narrative discourse and as an essential element in the image construction process of the italian director Federico Fellini. The first chapter focuses on La dolce Vita (1960) as the turning point in thedirectors style evolution, when Fellini starts to use the studio as one of the main tools in the construction of his singular aesthetics. The second chapter presents a general analysis of Fellinis cinematographic style, through the observation of different aspects in his personality and work. The third chapter presents an analysis of the aesthetic format of Giulietta deggli spiriti (1965), focusing on the set element as an active vector in the narrative discourse. The fourth chapter analyses the aesthetic format of Satyricon (1969), underlining the pictorial character of its images and the importance of the scenic device in the visual composition of the film.O objetivo desta pesquisa é estudar a cenografia como elemento ativo no discurso narrativo e como elemento essencial no processo de construção da imagem na obra do diretor italiano Federico Fellini. O primeiro capítulo enfoca La Dolce Vita (1960) como o ponto de transição na obra do diretor: a partir deste filme Fellini passa a usar o estúdio como uma das principais ferramentas no desenho de sua estética peculiar. O segundo capítulo apresenta uma análise geral da estética cinematográfica de Fellini através do levantamento de aspectospresentes na personalidade e na obra do artista. O terceiro capítulo apresenta uma análise do formato estético de Julieta dos espíritos (1965), primeiro longa-metragem em cores realizado pelo diretor, enfocando a cenografia como vetor ativo na construção do discurso narrativo. O quarto capítulo analisa Satyricon (1969) destacando o caráter pictórico de suas imagens e a importância da cenografia no processo de composição visual do filme.
27
Toth, Benjamin. "Dream space". Diss., Connect to the thesis, 2001. http://thesis.haverford.edu/2/01/2001TothB.pdf.
Testo completo
28
Cunha, Renato José Pinto da. "Fellinimaginário : por uma teoria imaginativa do cinema". reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/34178.
Testo completoAbstract (sommario):
Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2018.Por meio da identificação na cinematografia de Federico Fellini de quatro categorias estéticas não canônicas — o onírico, o mnêmico, o espetacular e o utópico —, aqui tratadas como categorias estéticas imaginativas, esta tese propõe uma teoria felliniana imaginativa do cinema, que também se revela representativa para se pensar outras cinematografias. E isso se dá pelo desenvolvimento da ideia de imaginidades, ou ciências imaginativas, como o lugar de conhecimento das artes em geral, e pela percepção de que, no âmbito das imaginidades, teoria e estética se complementam e se confundem, e pela proposição das bases do que se entende por teoria imaginativa do cinema, e pela demonstração de que tais categorias estéticas imaginativas são compostas por conceitos visuais, ou mais especificamente por aquilo que o filósofo Julio Cabrera estruturou como conceitos-imagem.
Through the identification in Federico Fellini’s cinematography of four non-canonical aesthetic categories — the oneiric, the mnemic, the spectacular and the utopic —, here understood as imaginative aesthetic categories, this thesis proposes an Fellini’s imaginative theory of cinema, that also reveals itself representative to think about other cinematographies. And this is due to the development of the idea of imaginities, or imaginative sciences, as the place of knowledge of the arts in general, and to the perception that, in the framework of the imaginities, theory and aesthetics are complemented and confused, and to the proposition of the bases of what is meant by the imaginative theory of cinema, and to the demonstration that such imaginative aesthetic categories are composed of visual concepts, or more specifically by what the philosopher Julio Cabrera structured like concept-images.
Attraverso l’identificazione nella cinematografia di Federico Fellini di quattro categorie estetiche non canoniche — l’onirico, il mnemonico, lo spettacolare e l’utopico —, qui trattate come categorie estetiche immaginative, questa tesi propone una teoria felliniana immaginativa del cinema, che si dimostra anche rappresentativa per pensare ad altre cinema-tografie. E ciò si verifica per lo sviluppo dell’idea di immaginistica, o scienze immaginative, come il luogo di conoscenza delle arti in generale, e per la percezione che, nell’ambito dell’immaginistica, teoria ed estetica si completano e si confondono, e per la proposizione delle basi di quello che si intende per teoria immaginativa del cinema, e per la dimostra-zione che tali categorie estetiche immaginative sono composte da concetti visivi, o più precisamente da quello che il filosofo Julio Cabrera ha strutturato come concetti-immagine.
29
Nechar, Rafael Ceribelli. "La Dolce Vita : o homem moderno em busca da alma : uma análise da obra de Federico Fellini sob a perspectiva de C.G. Jung". Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2018. http://www.bibliotecadigital.uel.br/document/?code=vtls000218591.
Testo completoAbstract (sommario):
O objetivo dessa dissertação é fazer uma análise aprofundada do filme do La Dolce Vita, realizado em 1960 pelo cineasta italiano Federico Fellini quando ele estava no começo de seu contato com a obra do psicanalista Carl Gustav Jung - fato que mudou definitivamen-te o processo criativo e a filmografia do cineasta. Para este trabalho vamos analisar os sete episódios‟ do filme, tendo em vista a narrativa não-linear do universo criado por Fel-lini e sua relação intrínseca com os estudos de Jung sobre a complexidade do homem moderno, seus sonhos e sua alma.The objective of this thesis is to make an critical analysis about the movie La Dolce Vita, shot in 1960 by the Italian director Federico Fellini when he had just begun his own studies about the psychoanalysis of C.G. Jung - fact that definitely changed the creative process and filmography of the former. To this end we will analyze the so called seven chapters of the movie, going through the non-linear narrative of the universe created by Fellini and his deep relationship with the jungian studies about the complexity of the modern man, his dreams and his soul.
30
Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080020.
Testo completoAbstract (sommario):
La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernitéThis thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity
31
Meunier, Emmanuelle. "Des plaisirs des sens au plaisir des sens : la réécriture cinématographique du mythe littéraire de Giacomo Casanova à travers la genèse du "Casanova de Fellini"". Paris 8, 2008. http://www.theses.fr/2008PA082966.
Testo completoAbstract (sommario):
Des rapports conflictuels qui opposent le réalisateur Federico Fellini et l'aventurier des lumières Giacomo Casanova est né un film, "Le Casanova de Fellini" (1976), réécriture cinématographique de l'"Histoire de ma vie", autobiographie de Giacomo Casanova. Le mythe littéraire de Casanova semble s'être essentiellement construit à travers une réduction de son personnage : d'un épicurien désireux de jouir de ses cinq sens, il est peu à peu devenu un simple séducteur, préoccupé du seul plaisir des sens, du seul vertige charnel. Fellini affronte le mythe casanovien selon différentes modalités, qui varient au fil de la genèse accidentée du projet et au gré des sources d'inspiration qui le guide. Si à l'origine, le personnage historique de Casanova pointe derrière le mythe, les différentes réécritures scénaristiques témoignent d'une emprise progressive du mythe, que Fellini porte ensuite à ses extrêmes lors du tournage. Les étapes de la post-production du film lui permettent enfin de transformer ce "sur-mythe" en type même de l'italien, immature et superficiel. Cette réécriture cinématographique du mythe casanovien est parallèlement guidée par les différents ouvrages consultés par le réalisateur durant la préparation de l'œuvre : si la biographie historique de James Rives Childs lui inspire un retour aux sources de la légende casanovienne, les "Mémoires", réécriture de l'"Histoire de ma vie" par Jean Laforgue, l'entraîne vers une mythisation de plus en plus frappante du personnage. Enfin, à travers "Casanova ou la dissipation", essai de Robert Abirached, Fellini retrouve le type de l'homme baroque, forme parfaite mais vide, qui lui souffle le caractère définitif de son propre Casanova"Fellini's Casanova" (1976), a cinematographic rewriting of Giacomo Casanova's autobiography, "Story of my Life", is born from the conflictual relationships between the Italian director Federico Fellini and the Enlightments adventurier Giacomo Casanova. Casanova's letterary myth seems to be essentially built on a reduction of his character: originally, he was an epicurian, who only wanted to enjoy his five senses, and now, he has become a simple seducer, who only seeks the sheer pleasure of the senses. Fellini has faced casanovian myth according several modalities, which has changes along the complex genesis of the project and has depended the inspiration sources which guide him. Originally, the historical character won against the myth. Then, the different scenaristic rewritings showed a gradual influence of the myth, which Fellini proceeds after to its extremes during the filming. The postproduction of the film finally allowed him to transform this "sur-mythe" in the type of the Italian, immature and superficial. In a similar way, this rewriting of the casanovian myth has been guided by the different works consulted by the director during the preparation of his work: if James Rives Childs' historical biography suggested him a return to the roots of the casanovian legend, the Mémoires, rewriting the Story of my Life by Jean Laforgue, guided him to an striking and growing mythisation of the character. Finally, through Casanova ou la dissipation, a Robert Abirached essay, Fellini found the type of the perfect but empty baroque man, which perfectly looks like his own Casanova
32
Roh, Chul-Hwan. "Le film sur le film, une nouvelle approche analytique : son application à 2 films majeurs : "La nuit américaine" de François Truffaut et "Huit et demi" de Federico Fellini". Paris 8, 2013. http://octaviana.fr/document/181613077#?c=0&m=0&s=0&cv=0.
Testo completoAbstract (sommario):
La caméra est l’être invisible qui crée l’être visible. Elle est non seulement le représentant du regard du réalisateur mais aussi un voyeur, comme le spectateur en quelque sorte. Nous pouvons étudier la caméra invisible, parce que nous pouvons savoir comment le réalisateur l’a utilisée grâce aux images montrées dans le film. Pour l’analyse, nous choisissons trois éléments particuliers, le mouvement, la distance et l’angle que l’on peut trouver clairement dans le film pour révéler cette caméra. « Comment le réalisateur exprime-t-il son intention par la caméra ? » Notre hypothèse relie l’intention du réalisateur et l’utilisation de la caméra. Nous analysons deux films : "La Nuit américaine" de François Truffaut et "Huit et demi" de Federico Fellini. Ils sont leur premier film sur le film. Nous définissons les films qui possèdent les caractéristiques suivantes en tant que « film sur le film » : un film de fiction, un film réalisé par l’« auteur », le traitement du processus de production du film, la présentation du film dans le film et l’existence du personnage réflexif du réalisateur. Pour introduire et affermir cette approche, nous analysons également "Le Mépris" de Jean-Luc Godard comme troisième film étudié dans l’introduction et la conclusion de l’étude. Cette étude se déroule en trois étapes. D’abord, c’est la division des univers intérieurs du film liés à la narration. La deuxième étape est la statistique sur l’utilisation de la caméra dans tous les plans du film. En dernier lieu, nous interprétons ces statistiques en les comparant à la division des univers intérieurs. Dans cette étape, nous voulons révéler l’intention du réalisateur dans sa réalisation du filmThe camera is the invisible which creates the visible. It is not only the representative of the director’s gaze but also a voyeur, similar to the audience in some way. We can study this invisible camera because we know how the director has used it through the images shown in the film. For analysis, we choose three items - movement, distance and angle - that can be found clearly in the film to reveal the camera. “How does the director express his intention by the camera?” Our hypothesis links the director’s intention and the application of the camera. We analyze two films : "Day for Night" by François Truffaut and "8 1/2" by Federico Fellini. These are their first film on film. We define the films that have the following characteristics as the ‘film on film’ : a fiction film, a film directed by the ‘auteur’, treatment of the process of the film production, presentation of the film in film, and the existence of director’s reflexive character. To introduce and strengthen this approach, we also analyze "Contempt" by Jean-Luc Godard as the third film to analyse in the introduction and the conclusion of the study. This study proceeds in three steps. The first step is the division of the interior world of the film related to the narrative. The second step is the statistics on the use of the camera in every shot of the film. Finally, we interpret these statistics in comparison to the division of the interior world. In this step, we want to reveal the director’s intention in his making of the film
33
Tisseur, Pierre. "Coulisses : scénario original ; suivi de Condensation et déplacement dans l'onirisme au cinéma". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27548/27548.pdf.
Testo completo
34
Milková, Svatava. "Klaun v díle Federica Felliniho". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79358.
Testo completo
35
Houcke, Anne-Violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini". Thesis, 2012. http://www.theses.fr/2012PA100170.
Testo completoAbstract (sommario):
Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinémaNeorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films
36
Vargau, Marina. "Romarcord : flânerie dans la cine-città". Thèse, 2016. http://hdl.handle.net/1866/18457.
Testo completo
37
Gastaldi, Sciltian. "Pier Vittorio Tondelli: Letteratura Minore e Scrittura dell'Impegno Sociale". Thesis, 2012. http://hdl.handle.net/1807/44076.
Testo completoAbstract (sommario):
Abstract
This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.