Federico Fellini

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Federico Fellini professed a desire to create "an entire film made of immobile pictures." In this study, Hava Aldouby uses this quotation as a launching point to analyze Fellini’s films as sequences of "pictures" that draw extensively on art history, and particularly painting, as a reservoir of visual imagery. Aldouby employs an innovative pictorial approach that allows her to uncover a wealth of visual evocations overlooked by Fellini scholars over the years. Federico Fellini: Painting in Film, Painting on Film sheds light on the intertextual links between Fellini’s films and the works of various artists, from Velazquez to Francis Bacon, by identifying references to specific paintings in his films. Using new archival evidence from Fellini’s private library, brought to light for the first time here, Aldouby draws out Fellini’s in-depth knowledge of art history and his systematic employment of art-historical allusions. Inhaltsverzeichnis Acknowledgemens Preface Chapter 1 - Fellini, Painting On Film Chapter 2 - Giulietta degli spiriti: Symbolist virgins meet Decadent femmes-fatales in Art Nouveau interiors Symbolist strands embedded in Giulietta's childhood scenes Suzy's domain: Symbolist femmes fatales roaming art nouveau interiors The Master's Bedroom and the Jungian Shadow Chapter 3 - Toby Dammit: Rembrandt meets Velázquez on Screen The hanging carcass - Rembrandt to Fellini via Soutine and Bacon The bambina diavolo, or "Velázquez on film" Fellini, Picasso, and Las Meninas after Velázquez Severed head and white ball: Fellini's Jungian universe The severed head: Symbolist intertexts Toby Dammit: the creative artist as mystical initiate Chapter 4 - Fellini-Satyricon: Bruegel meets Klimt in the sewers of imperial Rome Fellini's (re)presentation of Romanità Fellini’s "Byzantium" Picasso’s Minotaur meets Encolpio in Fabrizio Clerici's labyrinths Chapter 5 - Fellini’s Casanova: Casanova meets De Chirico on Böcklin's Isle of the Dead Casanova, Fellini's version of the Golem Through the half-drawn curtain: Casanova, De Chirico and The Enigma of the Oracle The Isoletta di San Bartolo, or Isle of the Dead A bridge over the Thames: Fellini's Casanova meets Whistler’s Nocturnes Conclusion - "A new hypothesis of the truth": Painting as vehicle of the Real in Fellini's films, 1960s-70s List of Illustrations Bibliography