By Peter Bondanella
This research examines the profession of 1 of Italy's most famous filmmakers via shut research of 5 masterpieces that span his profession: l. a. Strada, l. a. Dolce Vita, eight 0.5, Amarcord and Interview. delivering an summary of Fellini's early profession as a cartoonist and scriptwriter for Neorealist administrators akin to Roberto Rosselini, it lines the improvement of his certain and private cinematic imaginative and prescient because it transcends Italian Neorealism. Rejecting an openly ideological method of Fellini's cinema, Bondanella emphasizes the director's curiosity in fable, the irrational, and individualism.
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Additional resources for The Films of Federico Fellini (Cambridge Film Classics)
These themes would become dominant in a series of films he shot with and for Ingrid Bergman: Stromboli, terra di dio (Stromboli, Land of God, 1949); Europa ’51 46 (The Greatest Love, 1952); Viaggio in Italia (Voyage in Italy, 1953); Giovanna d’Arco al rogo (Joan of Arc at the Stake, 1954); and La paura (Fear, 1954). It is not surprising that since Rossellini was Fellini’s mentor, Fellini would share Rossellini’s essentially Catholic and moral view of neorealism and that they would both be attacked by critics with a Marxist and materialist view of the world.
In 1987, Fellini returned to the pinnacle of critical success with Intervista [Interview], a cinematic account of himself, his cinema, and his view of the process of artistic creation. Presented outside the competition at the Cannes Film Festival (where it received a tremendous standing ovation), the film was awarded first prize at the Moscow Film Festival. The remainder of Fellini’s life would mark the most difficult stage in his career. Although he was considered practically the embodiment 37 38 Fellini on the set of his penultimate picture, Intervista.
After all, even such a non-Marxist critic as André Bazin claimed that the film was the “only valid Communist film made in the last decade. . ”3 Fortunately for the history of the cinema, the great Italian directors of the immediate postwar period paid little attention to the leftist critics and followed their own individual artistic inclinations; but they were as concerned as Fellini would eventually become about prescribing ideological goals for the cinema. Rossellini, universally regarded (Marxists included) as the father of neorealism, became concerned about the unidimensionality of film characters defined almost completely by their environment or social status.
The Films of Federico Fellini (Cambridge Film Classics) by Peter Bondanella