A Companion to Federico Fellini

A groundbreaking academic treatment of Fellini, provides new, expansive, and diverse perspectives on his films and influence

The Wiley Blackwell Companion to Federico Fellini presents new methodologies and fresh insights for encountering, appreciating, and contextualizing the director’s films in the 21^st century. A milestone in Fellini scholarship, this volume provides contributions by leading scholars, intellectuals, and filmmakers, as well as insights from collaborators and associates of the Italian director. Scholarly yet readable essays explore the fundamental aspects of Fellini’s works while addressing their contemporary relevance in contexts ranging from politics and the environment to gender, race, and sexual orientation.

As the centennial of Federico Fellini’s birth in approaches in 2020, this timely work provides new readings of Fellini’s films and illustrates Fellini’s importance as a filmmaker, artist,and major cultural figure. The text explores topics such as Fellini’s early cinematic experience, recurring themes and patterns in his films, his collaborations and influences, and his unique forms of cinematic expression. In a series of “Short Takes” sections, contributors look at specific films that have particular significance or personal relevance. Destined to become the standard research tool for Fellini studies, this volume:

• Offers new theoretical frameworks, encounters, critiques, and interpretations of Fellini’s work
• Discusses Fellini’s creativity outside of filmmaking, such as his graphic art and his Book of Dreams published after his death.
• Examines Fellini’s influence on artists not only in the English-speaking world but in places such as Turkey, Japan, South Asia, Russia, Cuba, North Africa.  
• Demonstrates the interrelationship between Fellini’s work and visual art, literature, fashion, marketing, and many other dimensions of both popular and high culture.
• Features personal testimonies from family, friends and associates of Fellini such as Francesca Fabbri Fellini, Gianfranco Angelucci, Valeria Ciangottini, and Lina Wertmüller
• Includes an extensive appendix of freely accessible archival resources on Fellini’s work

The Wiley Blackwell Companion to Federico Fellini is an indispensable resource for students, instructors, and scholars of Fellini, Italian cinema, cinema and art history, and all areas of film and media studies.

Frank Burke is Professor Emeritus at Queen's University, Canada. He is editor of the Wiley Blackwell Companion to Italian Cinema and author of several books on Federico Fellini.

Marguerite Waller is Professor Emerita of Comparative Literature and Gender and Sexuality Studies at the University of California, Riverside. She has co-edited volumes in both feminist studies and cinema studies, including Federico Fellini: Contemporary Perspectives and Postcolonial Cinema Studies.

Marita Gubareva is a freelance researcher and journalist based in Rome. Her research interests include seventeenth-century and late nineteenth-century aesthetics and Italian cinema.

Notes on Contributors xi

Editors’ Notes xxi

Foreword xxiii

Preface xxix

Acknowledgments xxxv

Glossary xxxvii

Part I Fellini and Friends 1

1 Introduction 3
Marguerite Waller and Frank Burke

2 Fellini, the Artist and the Man: An Interview with Vincenzo Mollica 13
Frank Burke (with Marita Gubareva)

3 Fellini: Backstory and a Dream 27
Goffredo Fofi

4 A Certain Freedom in Filmmaking 31
Lina Wertmüller

5 A Bit of Everything Happened: My Experience of La dolce vita 35
Valeria Ciangottini

6 Fellini a Casa Nostra 37
Carlo and Luca Verdone

Part II Beginnings, Inspirations, Intertexts 41

7 Neorealism Masked: Fellini’s Films of the 1950s 43
Stefania Parigi

8 Fellini’s Graphic Heritage: Drawings, Comics, Animation, and Beyond 59
Marco Bellano

9 In Bed with Fellini: Jung, Ernst Bernhard, Night Work, and Il libro dei sogni 79
Erika Suderburg

10 Fellini and Esotericism: An Ambiguous Adherence 95
Federico Pacchioni

11 Circo Fellini 109
Adriano Aprà

12 Fellini’s Sense of Place 117
John Agnew

13 “Il viaggio di G. Mastorna”: Fellini Entre Deux Morts 129
Alessandro Carrera

14 An “Incapacity to Affirm”: Fellini’s Aesthetics and the Decadent Movement 141
Marita Gubareva

15 Fellini and Fashion, a Two‐way Street: An Interview with Gianluca Lo Vetro 153
The Editors

Part III Collaborations 163

16 Ennio, Tullio, and the Others: Fellini and His Screenwriters 165
Giaime Alonge

17 Fellini and His Producers: Strange Bedfellows 177
Barbara Corsi and Marina Nicoli

18 Masina and Mastroianni: Reconfiguring C. G. Jung’s Animus and Anima 191
Victoria Surliuga

Part IV Aesthetics and Film Language 205

19 “Io non me ne intendo”: Fellini’s Relationship to Film Language 207
Marco Vanelli

20 Fellini’s Visual Style(s): A Phenomenological Account 223
Hava Aldouby

21 The Liquid Hyperfilm: Fellini, Deleuze, and the Sea as Forza Generatrice 237
Amy Hough‐Dugdale

22 Sounding Out Fellini: An Aural Continuum of Voices, Musics, Noises 251
Antonella Sisto

23 Fellini and the Aesthetics of Intensity 267
Paolo Bertetto

24 Egli Danza: Fellini’s Contexts and Influence from Before Rossellini to Sorrentino and Beyond 279
Vito Zagarrio

Part V Contemporary Dialogues 293

25 Remote Control Politics: Federico Fellini and the Politics of Parody 295
Kriss Ravetto‐Biagioli

26 “Il Maestro” Dismantles the Master’s House: Fellini’s Undoing of Gender and Sexuality 311
Marguerite Waller

27 Racial Difference and the Postcolonial Imaginary in the Films of Federico Fellini 331
Shelleen Greene

28 Environmental Fellini: Petroculture, the Anthropocene, and the Cinematic Road 347
Elena M. Past

Part VI Receptions, Appropriations, Dispersions 361

29 Fellini’s Critical Reception in Italy 363
Nicola Bassano

30 Fellini’s Reception in France 377
Albert Sbragia

31 The Fellini Brand: Marketing Appropriations of the Fellini Name 391
Rebecca Bauman

32 Fellini Remixed: Anglo‐American Film and Television Appropriations 403
Frank Burke

33 Il ritorno in patria: From Rimini to Winnipeg by Way of the Alps 419
Russell J. A. Kilbourn

34 Fellini and South Asian Cinemas 425
Esha Niyogi De

35 Interview with Tanvir Mokammel 429
Esha Niyogi De

36 Roma, Fellini, and Me 433
Amara Lakhous

37 Fellini and Turkey: Influence and Image 435
Cihan Gündoğdu

38 Fellini in Japan 439
Earl Jackson

39 Fellini in Russia 445
Naum Kleiman

40 Fellini in the Cuban Context 451
Luciano Castillo, Jennifer Ruth Hosek, Mario Naito López, Mario Masvidal, and Rebeca Chávez

Part VII Short Takes on Individual Films 455

41 Lo sceicco bianco (The White Sheik 1952) 457
Dom Holdaway

42 La strada (1954) 461
Giuseppe Natale

43 Le notti di Cabiria (Nights of Cabiria)—Cabiria in the Classroom: Teaching Fellini in the Twenty‐first Century 465
Áine O’Healy

44 La dolce vita (1960) 471
Mark Nicholls

45 Oh, My 8½ 475
Caroline Thompson

46 Giulietta degli spiriti ( Juliet of the Spirits): A Twenty‐First Century Users’ Guide 479
Erika Suderburg

47 Fellini ‐ Satyricon 483
Cristina Villa

48 Roma: Amor Through the Looking‐Glass 487
Rebecca West

49 Il Casanova di Federico Fellini (Fellini’s Casanova) in the Age of #MeToo 491
Alberto Zambenedetti

50 Prova d’orchestra (Orchestra Rehearsal) and E la nave va (And the Ship Sails On) 495
John Paul Russo

51 Intervista: There are No Rules 499
Elan Mastai

Appendices Foundations and Archives for Fellini Research 503

Appendix A Rimini and Fellini: The Fondazione Fellini, the Cineteca di Rimini, the Museo Fellini, and CircAmarcord 505
Marco Andreucci

Appendix B Additional Archival Sources 507
The Editors

Index, Terms and Issues 511

Index, Names and Titles 521

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