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Federico Fellini remains the best known of the postwar Italian directors. This collection of essays brings Fellini criticism up to date, employing a range of recent critical filters, including semiotic, psychoanalytical, feminist and deconstructionist. Accordingly, a number of important themes arise - the reception of fascism, the crisis of the subject, the question of agency, homo-eroticism, feminism, and constructions of gender. Since the early 1970s, a slide in critical and theoretical attention to Fellini's work has corresponded with an assumption that his films are self-indulgent and lacking in political value. This volume moves the discussion towards a politics of signification, contending that Fellini's evolving self-reflexivity is not mere solipsism but rather a critique of both aesthetics and signification. The essays presented here are almost all new - the two exceptions being important signifiers in Fellini studies. The first, Frank Burke's "Federico Fellini: Reality/Representation/Signification" laid the foundation in the late 1980s for considering Fellini's work in the light of postmodernism. The second, Marguerite Waller's "Whose Dolce Vita is this Anyway?: The Language of Fellini's Cinema" (1990), provides a contemporary re-reading of Fellini's most successful film. This lively and ambitious collection brings a new critical language to bear on Fellini's films, offering fresh insights into their underlying issues and meaning. In bringing Fellini criticism up to date, it will have a significant impact on film studies, reclaiming this important director for a contemporary audience
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The Films of Federico Fellini examines the career of one of Italy's most renowned filmmakers through close analysis of five masterpieces that span his career: La Strada, La Dolce Vita, 8 1/2, Amarcord and Interview. Providing an overview of Fellini's early career as a cartoonist and scriptwriter for neorealist directors such as Roberto Rossellini, this study traces the development of Fellini's unique and personal cinematic vision as it transcends Italian neorealism. Rejecting an overtly ideological approach to Fellini's cinema, Bondanella emphasizes the director's interest in fantasy, the irrational and individualism.
Motion pictures --- Motion picture industry --- Biography --- Employees --- Fellini, Federico --- Fellini, Frederico --- Fellini, F. --- Felini, Federiḳo --- פליני, פדריקו --- Fellas, --- Criticism and interpretation.
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film --- filmgeschiedenis --- twintigste eeuw --- Italië --- neorealisme --- Rosselini Roberto --- De Sica Vittorio --- Visconti Luchino --- Antonioni Michelangelo --- Fellini Federico --- spaghettiwesterns --- westerns --- Leone Sergio --- Pasolini Pier Paolo --- Bertolucci Bernardo --- Moretti Nanni --- Avati Pupi --- Scola Ettore --- Taviani Paolo --- Taviani Vittorio --- Wertmüller Lina --- Cavani Liliana --- Bellocchio Marco --- Petri Elio --- 791.43 --- Motion pictures --- History --- History.
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