Presentation on theme: "Federico Fellini (1920-1993) ‘I am cinema.’. Italian Cinema Italy as one of the greatest cinematic nations In history, production started in 1903 In the."— Presentation transcript:
Italian Cinema Italy as one of the greatest cinematic nations In history, production started in 1903 In the number of the films made: 6th in the world (1 India, 2 USA, 3 Japan, 4 China, 5 France, 6 Italy, 7 Spain, 8 UK, 9 Germany) In the variety of auteurs In the number of stars In national esteem
History Quo Vadis (1912) – the first blockbuster film in history of cinema with 5,000 extras, lavish 3 dimensional sets, 2 years production time, running time 2 hours. Epic about the time of the emperor Nero and the prosecution of Christians. clip
History Cabiria (1914) – epic and blockbuster film set at the time of the 2nd Punic War, including scenes such as the eruption of Mt. Etna, the Alpine crossing of Hannibal, the sea battles at Syracuse, Scipio’s advance in N. Africa
Roma Citta Aperta (1945) by Roberto Rossellini Lives of Romans fighting against the Nazi occupation Pina shot by an invisible bullet Pina shot by an invisible bullet
Bicycle Thieves (1948) by Vittorio De Sica – about a poor father searching for his stolen bike without which he would lose his job. Thief
Salvatore Giuliano (1962) by Francesco Rosi – a biographical film about a enigmatic Sicilian bandit, Salvatore Giuliano
Il Gattopardo (1963) by Luchino Visconti – about a Sicilian aristocrat, whose fortune is about to decline with the arrival of modernity. Italian Trailer
Il Vangelo secondo Matteo (Gospel According to St. Matthew: 1964) – retels the story of Jesus Christ from Nativity to Resurrection Baptism Baptism
The Battles of Algiers (1966) by Gillo Pontecorvo – about fighting for independence in Algieria Female bomber
Il Conformista (The Conformist: 1970) by Bernardo Bertolucci – about a man helping fascists to assassinate his former professor. Dance scene
Tree of Wooden Clogs (1978) by Ermano Olmi about Lombard peasant families in cascina (farmhouse) in the 19th century eviction
Kaos (1984) by Paolo and Vittorio Taviani – a omnibus film of four episodes and an epilogue based on Pirandello’s stories exile
Federico Fellini One of the most celebrated and distinctive filmmakers not only in Italy but in the world. Without much formal training in filmmaking, he started making films with distinctive visual styles
Dreamlike or hullucinatory imagery imposed on ordinary everyday situation Personal expression
Life Born in the seaside town of Rimini, moved to Rome at 19. Enrolled in a law school but quickly abandoned it. Neither attended a film school nor frequented cinema and cine club. Supported himself by contributing cartoons and gags to Marc’ Aurelio
Fellini worked as a scriptwriter for a radio programme starring Giulietta Masina, who became his wife in 1943 and starred in his post-war films. They were married for 50 years.
Rossellini engaged Fellini as one of a team of writers for Roma, Citta Apertá (1945): the seminal film of Neorealismo. First Oscar nomination One of the most successful scriptwriter during the neorealist period Rosselini’s Paisá, Germi’s Il Camino della speranza, Lattuada’s Senza pieta, Comentini’s Persiane Chiuse
His Work Fellini’s directorial debut was Luce dei varieta (Variety Lights: 1951), a collaboration with Lattuada Lo Scheicco bianco (White Sheik: 1951) and I Vitelloni (1953) first masterpiece and commercially successful
Semi-autobiographical and sarcastic observation of four ‘mama’s boys’ living in a provincial town. All four want to quit the seaside town where they were born and living and their lives there. Only Morald managed to leave it for Rome.
Fellini’s Major Works A trilogy dealing with the fate of the innocent in a cruel world without salvation. La Strada (1954) – Anthony Quinn as a cruel circus strongman and Masina as a pathetic waif who loves him. The film was shot on location and the desolate landscape symbolizes the inhumanity in the relationship.
“forcing of the photographic image in a direction that carries it from an image of caricature toward that of the visionary.” Italo Calvino Fellini’s indebtedness to the Italian mass culture in creating cinematic images. Caricature and circus
Stars Masina as a simple and optimistic Roman prostitute, who because of her blind trust in everybody and gullibility is deceived by many men and customers Holy innocent in a cruel and merciless world
La Dolce Vita (1960) The 60s sexual liberation started with the release of Dolce Vita (sweet life) The first collaboration with Marcello Mastro- ianni (Fellini’s alter ego) Handsome, promiscuous, carefree journalist enjoys a decadent life in Rome.
La Dolce Vita as an icon of the 1960s Erotic images and sexual suggestiveness which had not existed in cinema anywhere Stand for the 1960s permissiveness and sexual liberation
Nadia stripping herself to celebrate her divorce
Cause célèbré Scandalized the conservative and the old and upset the church The film was criticized by the Vatican news- paper and banned in Spain Imitated, influenced and parodied a number of times
La Dolce Vita as a social phenomenon A indictment of the popular media (the word paparazzi was made into the English vocaburary) Decadent intellectuals and aristocrats which hang around Via Veneto
Surreal, dreamlike and hallucinatory images Fellinesque Total lack of conventional narratives and plots Episodic storytelling: avant-garde art cinema
8 ½ (Eight and a half: 1963) – arguably the greatest film that Fellini created The best European film ever made (1987 panel of scholars The fourth greatest film (Sight and Sound 2012)Sight and Sound
About a plight of a famous film director (based on Fellini and played by Mastroianni) in his creative crisis High modernist aesthetics, perfect combination of realism and symbolism
Fellini as a Byname for European Art Film After the phenomenal successes of La Dolce Vita and 8 ½, it became an event that Fellini made a new film. Break with conventional filmmaking techniques, his films were made of freely structured tales in which reality and dream mingle.
Amarcordo (1973) – nostalgic reminiscences of Fellini’s adolescence in Rimini during the fascist period. Satire on Italy’s lapse of conscience: fascism and the Catholic Church ‘imprisoned Italians in a perpetual adolescence.’ (Fellini)