Editing Federico Fellini

{{Short description|Italian filmmaker (1920–1993)}}
{{Redirect|Fellini}}
{{Use dmy dates|date=March 2021}}
{{Infobox person
| name = Federico Fellini
| honorific_suffix = {{post-nominals|post-noms=[[Order of Merit of the Italian Republic|Cavaliere di Gran Croce OMRI]]}}
| image = Federico Fellini NYWTS 2.jpg
| caption = Fellini in 1965
| birth_date = {{birth date|1920|1|20|df=y}}
| birth_place = [[Rimini]], Italy
| death_date = {{death date and age|1993|10|31|1920|1|20|df=y}}
| death_place = [[Rome]], Italy
| burial_place = [[Monumental Cemetery of Rimini]], Italy
| occupation = {{hlist|Film director|screenwriter}}
| years_active = 1945–1993
| spouse = {{marriage|[[Giulietta Masina]]|1943}}
}}
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'''Federico Fellini''' ({{IPA|it|fedeˈriːko felˈliːni|lang}}; 20 January 1920 – 31 October 1993) was an Italian film director and screenwriter. He is known for his distinctive style, which blends [[fantasy]] and [[baroque]] images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of ''[[Cahiers du Cinéma]]'' and ''[[Sight & Sound]]'', which lists his 1963 film ''[[8½|{{Fraction|8|1|2}}]]'' as the 10th-greatest film.

Fellini's best-known films include ''[[I Vitelloni]]'' (1953), ''[[La Strada]]'' (1954), ''[[Nights of Cabiria]]'' (1957), ''[[La dolce vita|La Dolce Vita]]'' (1960), ''[[8½]]'' (1963), ''[[Juliet of the Spirits]]'' (1965), ''[[Fellini Satyricon]]'' (1969), ''[[Roma (1972 film)|Roma]]'' (1972), ''[[Amarcord]]'' (1973), and ''[[Fellini's Casanova]]'' (1976).

Fellini was nominated for 17 [[Academy Awards]] over the course of his career and accepted four Oscars in total for [[Academy Award for Best International Feature Film|Best Foreign Language Film]] (the most for any director in the history of the award). He received an [[Academy Honorary Award|honorary award]] for Lifetime Achievement at the [[65th Academy Awards]] in Los Angeles. Fellini also won the [[Palme d'Or]] for ''La Dolce Vita'' in 1960, two times the [[Moscow International Film Festival]] in 1963 and 1987, and the Career Golden Lion at the [[42nd Venice International Film Festival]] in 1985. In ''[[Sight & Sound]]''{{`}}s 2002 list of the greatest directors of all time, Fellini was ranked 2nd in the directors' poll and 7th in the critics' poll.

==Early life and education==
=== Rimini (1920–1938) ===
Fellini was born on 20 January 1920, to [[Middle class|middle-class]] parents in [[Rimini]], then a small town on the [[Adriatic Sea]]. On 25 January, at the San Nicolò church he was baptized Federico Domenico Marcello Fellini.<ref name="autuori">{{cite web |title=Ma la casa mia n'dov'è? |url=http://www.ilponte.com/ma-la-casa-mia-ndove/ |last=Autuori |first=Beppe |date=30 October 2017 |website=Il Ponte|language=it-IT}}</ref> His father, Urbano Fellini (1894–1956), born to a family of [[Romagna|Romagnol]] [[peasant]]s and small [[Land tenure|landholders]] from [[Gambettola]], moved to [[Rome]] in 1915 as a baker [[apprentice]]d to the Pantanella pasta factory. His mother, Ida Barbiani (1896–1984), came from a [[Bourgeoisie|bourgeois]] [[Catholic Church|Catholic]] family of Roman [[merchant]]s. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola.{{sfn|Alpert|1988|p=16}} A civil marriage followed in 1918 with the religious ceremony held at [[Santa Maria Maggiore]] in Rome a year later.

The couple settled in Rimini where Urbano became a [[Vendor|traveling salesman]] and [[Wholesaling|wholesale]] [[vendor]]. Fellini had two siblings, [[Riccardo Fellini|Riccardo]] (1921–1991), a documentary director for [[RAI]] Television, and [[Maddalena Fellini|Maria Maddalena]] (m. Fabbri; 1929–2002).

In 1924, Fellini began primary school at an institute run by the nuns of San Vincenzo in Rimini, later attending the Carlo Tonini public school two years afterward. An attentive student, he spent his leisure time drawing, staging [[puppet shows]] and reading ''Il corriere dei piccoli'', the popular children's magazine that reproduced traditional American cartoons by [[Winsor McCay]], [[George McManus]] and [[Frederick Burr Opper]]. (Opper's ''[[Happy Hooligan]]'' would provide the visual inspiration for Gelsomina in Fellini's 1954 film ''[[La Strada]]''; McCay's ''[[Little Nemo]]'' would directly influence his 1980 film ''[[City of Women]]''.){{sfn|Bondanella|2002|p=7}} In 1926, he discovered the world of [[Grand Guignol]], the circus with [[Pierrot|Pierino]] the Clown and the movies. [[Guido Brignone]]'s ''[[Maciste all'inferno (1925 film)|Maciste all'inferno]]'' (1925, ''Maciste in Hell''), the first film he saw, would mark him in ways linked to [[Dante]] and the cinema throughout his entire career.{{sfn|Burke|Waller|2003|p=5-13}}

Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi ''Titta'' Benzi, later a prominent Rimini lawyer (and the model for young Titta in ''[[Amarcord]]'' (1973)). In [[Benito Mussolini|Mussolini]]'s Italy, Fellini and Riccardo became members of the ''[[Avanguardisti|Avanguardista]]'', the compulsory [[Italian Fascism|Fascist]] youth group for males. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner ''[[SS Rex]]'' (which is shown in ''Amarcord''). The sea creature found on the beach at the end of ''[[La Dolce Vita]]'' (1960) has its basis in a giant fish marooned on a Rimini beach during a storm in 1934.

Although Fellini adapted key events from his childhood and adolescence in films such as ''[[I Vitelloni]]'' (1953), ''[[8½|{{Fraction|8|1|2}}]]'' (1963), and ''[[Amarcord]]'' (1973), he insisted that such autobiographical memories were inventions: 
{{Blockquote |It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them.<ref>Fellini interview in ''Panorama'' 18 (14 January 1980). Screenwriters [[Tullio Pinelli]] and [[Bernardino Zapponi]], cinematographer [[Giuseppe Rotunno]] and set designer [[Dante Ferretti]] also reported that Fellini imagined many of his "memories". Cf. Bernardino Zapponi's memoir, ''Il mio Fellini'' and Fellini's own insistence on having created his cinematic autobiography in ''I'm a Born Liar: A Fellini Lexicon'', 32</ref>}}

In 1937, Fellini opened Febo, a portrait shop in Rimini, with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan's ''Domenica del Corriere''. Deciding on a career as a caricaturist and gag writer, Fellini travelled to [[Florence]] in 1938, where he published his first cartoon in the weekly ''420''. According to a biographer, Fellini found school "exasperating"{{sfn|Kezich|2006|p=17}} and, in one year, had 67 absences.{{sfn|Kezich|2006|p=14}} Failing his military culture exam, he graduated from high school in 1939.<ref>{{cite web|url=http://dspace.unive.it/bitstream/handle/10579/14022/866246-1226445.pdf?sequence=2|title=Fellini a Rimini. Storia della documentazione sul regista tra Cineteca, Fondazione e Museo|page=44|access-date=21 November 2022|language=it}}</ref>

===Rome (1939)===
In September 1939, he enrolled in [[law school]] at the [[Sapienza University of Rome]] to please his parents. Biographer [[Hollis Alpert]] reports that "there is no record of his ever having attended a class".{{sfn|Alpert|1988|p=33}} Installed in a family ''pensione'', he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies ''Il Piccolo'' and ''Il Popolo di Roma'', but quit after a short stint, bored by the local court news assignments.

Four months after publishing his first article in ''[[Marc'Aurelio]]'', the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled ''But Are You Listening?''.{{sfn|Kezich|2006|p=31}} Described as "the determining moment in Fellini's life",{{sfn|Bondanella|2002|p=8}} the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show business and cinema. Among his collaborators on the magazine's editorial board were the future director [[Ettore Scola]], [[Marxist]] theorist and scriptwriter [[Cesare Zavattini]], and [[Bernardino Zapponi]], a future Fellini screenwriter. Conducting interviews for ''CineMagazzino'' also proved congenial: when asked to interview [[Aldo Fabrizi]], Italy's most popular variety performer, he established such immediate personal rapport with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young protégé.{{sfn|Kezich|2006|p=55}}

==Career and later life==
=== Early screenplays (1940–1943) ===
[[File:Federico Fellini.jpg|thumb|Federico Fellini during the 1950s]]
Retained on business in Rimini, Urbano sent his wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of ''Marc'Aurelio'', began writing radio sketches and gags for films.

Not yet twenty and with Fabrizi's help, Fellini obtained his first screen credit as a comedy writer on [[Mario Mattoli]]'s ''[[Il pirata sono io]]'' (''The Pirate's Dream''). Progressing rapidly to numerous collaborations on films at [[Cinecittà]], his circle of professional acquaintances widened to include novelist [[Vitaliano Brancati]] and scriptwriter Piero Tellini. In the wake of Mussolini's declaration of war against France and Britain on 10 June 1940, Fellini discovered [[Kafka]]'s ''[[The Metamorphosis]]'', [[Gogol]], [[John Steinbeck]] and [[William Faulkner]] along with French films by [[Marcel Carné]], [[René Clair]], and [[Julien Duvivier]].{{sfn|Alpert|1988|p=42}} In 1941 he published ''Il mio amico Pasqualino'', a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego.{{sfn|Kezich|2006|p=35}}

Writing for radio while attempting to avoid the draft, Fellini met his future wife [[Giulietta Masina]] in a studio office at the Italian public radio broadcaster [[Ente Italiano per le Audizioni Radiofoniche|EIAR]] in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, ''Cico and Pallina'', Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war.
{{Blockquote|Giulietta is practical, and likes the fact that she earns a handsome fee for her radio work, whereas theater never pays well. And of course the fame counts for something too. Radio is a booming business and comedy reviews have a broad and devoted public.{{sfn|Kezich|2006|p=48}}}} In November 1942, Fellini was sent to [[Libya]], occupied by Fascist Italy, to work on the screenplay of ''I cavalieri del deserto'' (''[[Knights of the Desert (film)|Knights of the Desert]]'', 1942), directed by [[Osvaldo Valenti]] and Gino Talamo. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order".{{sfn|Kezich|2006|p=70}} Responsible for emergency re-writing, he also directed the film's first scenes. When [[Tripoli, Libya|Tripoli]] fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to [[Sicily]]. His African adventure, later published in ''Marc'Aurelio'' as "The First Flight", marked "the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field".{{sfn|Kezich|2006|p=71}}

The [[apolitical]] Fellini was finally freed of the draft when an Allied air raid over [[Bologna]] destroyed his medical records. Fellini and Giulietta hid in her aunt's apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of [[encephalitis]] 11 days later on 2 April 1945.<ref name="giannini">{{cite web |title=Amarcord In Rimini with Federico Fellini |url=http://www.casettaportaverde.it/Sito/Download_files/EN%20AMARCORD.pdf |archive-url=https://web.archive.org/web/20201018035040/http://www.casettaportaverde.it/Sito/Download_files/EN%20AMARCORD.pdf |archive-date=2020-10-18 |url-status=live |last=Giannini |first=Rita}}</ref> Masina and Fellini had no other children.<ref>Information on miscarriage and death from encephalitis cited in [[Tullio Kezich]], ''Fellini: His Life and Work'' (New York: Faber, 2006), pg. 74.<!-- ISSN/ISBN needed --></ref> The tragedy had enduring emotional and artistic repercussions.<ref>{{harvnb|Kezich|2006|p=157}}. Cf. filmed interview with Luigi 'Titta' Benzi in ''[[Fellini: I'm a Born Liar]]'' (2003).</ref>

===Neorealist apprenticeship (1944–1949)===
After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. He became involved with [[Italian Neorealism]] when [[Roberto Rossellini]], at work on ''Stories of Yesteryear'' (later ''[[Rome, Open City]]''), met Fellini in his shop, and proposed he contribute gags and dialogue for the script. Aware of Fellini's reputation as Aldo Fabrizi's "creative muse",{{sfn|Kezich|2006|p=78}} Rossellini also requested that he try to convince the actor to play the role of Father [[Giuseppe Morosini]], the parish priest executed by the [[Schutzstaffel|SS]] on 4 April 1944.

In 1947, Fellini and [[Sergio Amidei]] received an Oscar nomination for the screenplay of ''Rome, Open City''.

Working as both screenwriter and assistant director on Rossellini's ''[[Paisà]]'' (''Paisan'') in 1946, Fellini was entrusted to film the Sicilian scenes in [[Maiori]]. In February 1948, he was introduced to [[Marcello Mastroianni]], then a young theatre actor appearing in a play with Giulietta Masina.{{sfn|Kezich|2006|p=404}} Establishing a close working relationship with [[Alberto Lattuada]], Fellini co-wrote the director's ''[[Without Pity (1948 film)|Senza pietà]]'' (''Without Pity'') and ''[[Il mulino del Po]]'' (''The Mill on the Po''). Fellini also worked with Rossellini on the [[anthology film]] ''[[L'Amore (film)|L'Amore]]'' (1948), co-writing the screenplay and in one segment titled, "The Miracle", acting opposite [[Anna Magnani]]. To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

===Early films (1950–1953)===
[[File:Fellini masina delpoggio lattuada 1952.jpg|thumb|Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952]]
In 1950 Fellini co-produced and co-directed with Alberto Lattuada ''[[Variety Lights]]'' (''Luci del varietà''), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada's wife, [[Carla Del Poggio]]. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.{{sfn|Kezich|2006|p=114}} In February 1950, ''Paisà'' received an Oscar nomination for the screenplay by Rossellini, [[Sergio Amidei]], and Fellini.

After travelling to Paris for a script conference with Rossellini on ''[[Europa '51]]'', Fellini began production on ''[[The White Sheik]]'' in September 1951, his first solo-directed feature. Starring [[Alberto Sordi]] in the title role, the film is a revised version of a treatment first written by [[Michelangelo Antonioni]] in 1949 and based on the ''fotoromanzi'', the photographed cartoon strip romances popular in Italy at the time. Producer [[Carlo Ponti]] commissioned Fellini and [[Tullio Pinelli]] to write the script but Antonioni rejected the story they developed. With [[Ennio Flaiano]], they re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli ([[Leopoldo Trieste]], Brunella Bovo) in Rome to visit the Pope. Ivan's prissy mask of respectability is soon demolished by his wife's obsession with the White Sheik. Highlighting the music of [[Nino Rota]], the film was selected at Cannes (among the films in competition was [[Orson Welles]]'s ''[[Othello (1952 film)|Othello]]'') and then retracted. Screened at the [[13th Venice International Film Festival]], it was razzed by critics in "the atmosphere of a soccer match".{{sfn|Kezich|2006|p=128}} One reviewer declared that Fellini had "not the slightest aptitude for cinema direction".

In 1953, ''[[I Vitelloni]]'' found favour with the critics and public. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.

===Beyond neorealism (1954–1960)===
[[File:Cinecittà - Teatro 5.jpg|thumb|[[Cinecittà]] – Teatro 5, Fellini's favorite studio<ref>{{cite web|title=Our flexible giant.|url=http://www.cinecittastudios.it/en/events/special-events/teatro-5|publisher=Cinecittà Studios|access-date=20 September 2013|archive-url=https://web.archive.org/web/20130921054032/http://www.cinecittastudios.it/en/events/special-events/teatro-5|archive-date=21 September 2013|url-status=dead}}</ref>]]

Fellini directed ''[[La Strada]]'' based on a script completed in 1952 with Pinelli and Flaiano. It starred his wife [[Giulietta Masina]], [[Anthony Quinn]], and [[Richard Basehart]]. During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression.{{sfn|Kezich|2006|p=158}} Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.{{sfn|Kezich|2006|p=158}}

Fellini cast American actor [[Broderick Crawford]] to interpret the role of an aging swindler in ''[[Il Bidone]]''. Based partly on stories told to him by a petty thief during production of ''La Strada'', Fellini developed the script into a con man's slow descent. To incarnate the role's "intense, tragic face", Fellini's first choice had been [[Humphrey Bogart]],{{sfn|Kezich|2006|p=167}} but after learning of the actor's lung cancer, chose Crawford after seeing his face on the theatrical poster of ''[[All the King's Men (1949 film)|All the King's Men]]'' (1949).{{sfn|Fava|Viganò|1995|p=79}} The film shoot was wrought with difficulties stemming from Crawford's alcoholism.{{sfn|Kezich|2006|pp=168–169}} Savaged by critics at the [[16th Venice International Film Festival]], the film did miserably at the box office and did not receive international distribution until 1964.

During the autumn, Fellini researched and developed a treatment based on a film adaptation of [[Mario Tobino]]'s novel, ''The Free Women of Magliano''. Set in a mental institution for women, the project was abandoned when financial backers considered the subject had no potential.{{sfn|Liehm|1984|p=236}}
[[File:Federico Fellini 56.jpg|thumb|Fellini during the filming of ''[[Nights of Cabiria]]'', 1956]]
While preparing ''[[Nights of Cabiria]]'' in spring 1956, Fellini learned of his father's death by cardiac arrest at the age of sixty-two. Produced by [[Dino De Laurentiis]] and starring Giulietta Masina, the film took its inspiration from news reports of a woman's severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of ''[[Il Bidone]]''.{{sfn|Kezich|2006|p=177}} [[Pier Paolo Pasolini]] was hired to translate Flaiano and Pinelli's dialogue into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the [[Academy Award for Best Foreign Language Film]] at the [[30th Academy Awards]] and brought Masina the Best Actress Award at Cannes for her performance.<ref>[[1957 Cannes Film Festival|Cannes Film Festival]]: Best Actress, Giulietta Masina; OCIC Award – Special Mention, Federico Fellini; 1957. {{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/3550/year/1957.html |title=Festival de Cannes: Nights of Cabiria |access-date=2 August 2009|work=festival-cannes.com}}</ref>

With Pinelli, he developed ''Journey with Anita'' for [[Sophia Loren]] and [[Gregory Peck]]. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral.{{sfn|Kezich|2006|p=189}} Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as ''[[Lovers and Liars]]'' (1981), a comedy directed by [[Mario Monicelli]] with [[Goldie Hawn]] and [[Giancarlo Giannini]]. For [[Eduardo De Filippo]], he co-wrote the script of ''[[Fortunella (film)|Fortunella]]''.<ref>{{cite web|url=https://movieplayer.it/film/fortunella_21090/cast/|title=Cast del fil fortunella (1958)|access-date=21 November 2022|language=it}}</ref>

The [[Hollywood on the Tiber]] phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto.{{sfn|Alpert|1988|p=122}} The scandal provoked by Turkish dancer Haish Nana's improvised striptease at a nightclub captured Fellini's imagination: he decided to end his latest script-in-progress, ''Moraldo in the City'', with an all-night "orgy" at a seaside villa. [[Pierluigi Praturlon]]'s photos of [[Anita Ekberg]] after an evening spent with the actress in a Rome night club provided further inspiration for Fellini and his screenwriters.<ref>{{cite web|url=https://www.spaziodi.it/magazine/n0210/vdb.asp?tag=FOTO&id=425|title=Pierluigi Praturlon – Il fotografo che riprese la dolce vita del cinema italiano|access-date=21 November 2022|language=it}}</ref>

Changing the title of the screenplay to ''[[La Dolce Vita]]'', Fellini soon clashed with his producer on casting: The director insisted on the relatively unknown Mastroianni while De Laurentiis wanted [[Paul Newman]] as a hedge on his investment. Reaching an impasse, De Laurentiis sold the rights to publishing mogul [[Angelo Rizzoli]]. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peter's in a mammoth décor constructed at [[Cinecittà]]. The statue of Christ flown by helicopter over Rome to [[St. Peter's Square]] was inspired by an actual media event on 1 May 1956, which Fellini had witnessed.

''[[La Dolce Vita]]'' broke all box office records. Despite scalpers selling tickets at 1000 lire,{{sfn|Kezich|2006|p=208}} crowds queued in line for hours to see an "immoral movie" before the censors banned it. At an exclusive [[Milan]] screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the film's controversial themes.{{sfn|Kezich|2006|p=209}} The [[Holy See|Vatican]]'s official press organ, ''[[L'Osservatore Romano]]'', lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending ''[[La Dolce Vita]]'' had severe consequences.{{sfn|Kezich|2006|p=210}} In competition at Cannes alongside Antonioni's ''[[L'Avventura]]'', the film won the [[Cannes Film Festival|Palme d'Or]] awarded by presiding juror [[Georges Simenon]]. The Belgian writer was promptly "hissed at" by the disapproving festival crowd.{{sfn|Alpert|1988|p=145}}

===Art films and dreams (1961–1969)===
[[File:Federico Fellini in the Seventies.jpg|thumb|Federico Fellini]]
A major discovery for Fellini after his [[Italian neorealism]] period (1950–1959) was the work of [[Carl Jung]]. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, ''[[Memories, Dreams, Reflections]]'' (1963) and experimented with [[LSD]].<ref>{{cite web|url=http://www.sostanze.info/esperienza/fellini-e-l039sd|title=Fellini e l' LSD – sostanze.info|website=www.sostanze.info}}</ref> Bernhard also recommended that Fellini consult the ''[[I Ching]]'' and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"{{sfn|Kezich|2006|p=224}} were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric".{{sfn|Kezich|2006|p=227}} As a consequence, Jung's seminal ideas on the ''anima'' and the ''animus'', the role of archetypes and the collective unconscious directly influenced such films as ''[[8½|{{Fraction|8|1|2}}]]'' (1963), ''[[Juliet of the Spirits]]'' (1965), ''[[Fellini Satyricon]]'' (1969), ''[[Fellini's Casanova|Casanova]]'' (1976), and ''[[City of Women]]'' (1980).{{sfn|Bondanella|1992|pp=151–154}} Other key influences on his work include [[Luis Buñuel]],{{efn|name=fellini-pettigrew-2003}} [[Charlie Chaplin]],{{efn|name=stubbs-2006}} [[Sergei Eisenstein]],{{efn|name=bondanella-1978}} [[Buster Keaton]],{{sfn|Bondanella|1992|p=8}} [[Laurel and Hardy]],{{sfn|Bondanella|1992|p=8}} the [[Marx Brothers]],{{sfn|Bondanella|1992|p=8}} and [[Roberto Rossellini]].{{efn|name=fellini-pettigrew-marx-brothers}}

Exploiting ''La Dolce Vita''{{'}}s success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolini's project, ''[[Accattone]]'' (1961).{{sfn|Kezich|2006|pp=218–219}}

Condemned as a "public sinner",{{sfn|Kezich|2006|p=212}} for ''La Dolce Vita'', Fellini responded with ''The Temptations of Doctor Antonio'', a segment in the omnibus ''[[Boccaccio '70]]''. His second colour film, it was the sole project green-lighted at Federiz. Infused with the [[surrealistic]] satire that characterized the young Fellini's work at ''Marc'Aurelio'', the film ridiculed a crusader against vice, interpreted by [[Peppino De Filippo]], who goes insane trying to censor a billboard of [[Anita Ekberg]] espousing the virtues of milk.{{sfn|Bondanella|2002|p=96}}

In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: "Well then – a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system."<ref>Affron, 227{{incomplete short citation|date=September 2021}}</ref> Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film",{{sfn|Alpert|1988|p=159}} in the hope of resolving his confusion. Flaiano suggested ''La bella confusione'' (literally ''The Beautiful Confusion'') as the movie's title. Under pressure from his producers, Fellini finally settled on ''{{Fraction|8|1|2}}'', a [[self-referential]] title referring principally (but not exclusively)<ref>{{harvnb|Kezich|2006|p=234}} and Affron, pp. 3–4{{incomplete short citation|date=September 2021}}</ref> to the number of films he had directed up to that time.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, [[Anouk Aimée]], and [[Sandra Milo]] in lead roles, and did screen tests at the Scalera Studios in Rome. He hired [[cinematographer]] [[Gianni Di Venanzo]], among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.{{sfn|Alpert|1988|p=160}} The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of ''{{Fraction|8|1|2}}'', Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make".{{sfn|Fellini|1988|pp=161–162}} The self-mirroring structure makes the entire film inseparable from its reflecting construction.

Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional — the realm of fantasy".{{sfn|Alpert|1988|p=170}} After shooting wrapped on 14 October, [[Nino Rota]] composed various circus marches and fanfares that would later become signature tunes of the maestro's cinema.{{sfn|Kezich|2006|p=245}} Nominated for four Oscars, ''{{Fraction|8|1|2}}'' won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured [[Disneyland]] with [[Walt Disney]] the day after.

Increasingly attracted to [[parapsychology]], Fellini met the [[Turin]] antiquarian [[Gustavo Rol]] in 1963.<ref>{{Cite web|title=Gustavo Rol – Who was he?|url=http://2000-2013.gustavorol.org/who.htm|access-date=2021-08-09|website=2000-2013.gustavorol.org}}</ref> Rol, a former banker, introduced him to the world of [[Kardecist spiritism|Spiritism]] and [[séances]]. In 1964, Fellini took [[Lysergic acid diethylamide|LSD]]<ref>A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by Mexican tribes". {{harvnb|Kezich|2006|p=255}}</ref> under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of ''La Strada''.{{sfn|Kezich|2006|p=255}} For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that
<blockquote>...&nbsp;objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.{{sfn|Fellini|Pettigrew|2003|p=91}}</blockquote>

Fellini's hallucinatory insights were given full flower in his first colour feature ''[[Juliet of the Spirits]]'' (1965), depicting [[Giulietta Masina]] as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy ([[Sandra Milo]]) introduces Juliet to a world of uninhibited sensuality, but Juliet is haunted by childhood memories of her [[Catholic guilt]] and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by [[Nino Rota]].

===Nostalgia, sexuality, and politics (1970–1980)===
To help promote ''[[Fellini Satyricon|Satyricon]]'' in the United States, Fellini flew to Los Angeles in January 1970 for interviews with [[Dick Cavett]] and [[David Frost]]. He also met with film director [[Paul Mazursky]] who wanted to cast him in a starring role alongside [[Donald Sutherland]] in his new film, ''[[Alex in Wonderland]]''.{{sfn|Kezich|2006|p=410}} In February, Fellini scouted locations in Paris for ''[[The Clowns (film)|The Clowns]]'', a [[docufiction]] both for cinema and television, based on his childhood memories of the circus and a "coherent theory of clowning."{{sfn|Bondanella|1992|p=192}} As he saw it, the clown "was always the caricature of a well-established, ordered, peaceful society. But today all is temporary, disordered, grotesque. Who can still laugh at clowns?... All the world plays a clown now."{{sfn|Alpert|1988|p=224}}

In March 1971, Fellini began production on ''[[Roma (1972 film)|Roma]]'', a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences," writes Fellini scholar [[Peter Bondanella]], "are held together only by the fact that they all ultimately originate from the director's fertile imagination."{{sfn|Bondanella|1992|p=193}} The film's opening scene anticipates ''Amarcord'' while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons.

Over a period of six months between January and June 1973, Fellini shot the [[Academy Award|Oscar]]-winning ''[[Amarcord]]''. Loosely based on the director's 1968 autobiographical essay ''My Rimini'',{{sfn|Alpert|1988|p=239}} the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the 1930s. Produced by [[Franco Cristaldi]], the [[seriocomic]] movie became Fellini's second biggest commercial success after ''La Dolce Vita''.{{sfn|Bondanella|1992|p=265}} Circular in form, ''Amarcord'' avoids plot and linear narrative in a way similar to ''The Clowns'' and ''Roma''.{{sfn|Alpert|1988|p=242}} The director's overriding concern with developing a poetic form of cinema was first outlined in a 1965 interview he gave to ''[[The New Yorker]]'' journalist [[Lillian Ross (journalist)|Lillian Ross]]: "I am trying to free my work from certain constrictions – a story with a beginning, a development, an ending. It should be more like a poem with metre and cadence."{{sfn|Bondanella|1978|p=104}}

===Late films and projects (1981–1990)===
[[File:Sandro Pertini David Donatello.jpg|thumb|Italian President [[Sandro Pertini]] receiving a [[David di Donatello]] Award from Fellini in 1985]]
Organized by his publisher [[Diogenes Verlag]] in 1982, the first major exhibition of 63 drawings by Fellini was held in [[Paris]], [[Brussels]], and the [[Pierre Matisse]] Gallery in [[New York City|New York]].<ref>{{harvnb|Kezich|2006|p=413}}. Also cf. [https://archive.today/20110613161040/http://www.warsawvoice.pl/view/13135/ The Warsaw Voice]</ref> A gifted caricaturist, he found much of the inspiration for his sketches from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, ''I disegni di Fellini'' (Fellini's Designs), he published 350 drawings executed in pencil, watercolours, and felt pens.<ref>Fellini, ''I disegni di Fellini'' (Roma: Editori Laterza), 1993. The drawings are edited and analysed by Pier Marco De Santi. For comparing Fellini's graphic work with those of [[Sergei Eisenstein]], consult S.M. Eisenstein, ''Dessins secrets'' (Paris: Seuil), 1999.</ref>

On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival. That same year, he became the first non-American to receive the [[Film Society of Lincoln Center]]'s annual award for cinematic achievement.{{sfn|Bondanella|2002|p=7}}
[[File:Fellini Mastroianni 1990 Venice Film Festival 02 (cropped).jpg|thumb|Fellini rewards [[Marcello Mastroianni]] with the [[Golden Lion#Golden Lion Honorary Award|Golden Lion Honorary Award]] at the [[47th Venice International Film Festival]].]]
Long fascinated by [[Carlos Castaneda]]'s ''[[The Teachings of Don Juan: A Yaqui Way of Knowledge]]'', Fellini accompanied the Peruvian author on a journey to the [[Yucatán Peninsula|Yucatán]] to assess the feasibility of a film. After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled ''Viaggio a Tulun''. Producer [[Alberto Grimaldi]], prepared to buy film rights to all of Castaneda's work, then paid for pre-production research taking Fellini and his entourage from Rome to [[Los Angeles]] and the jungles of [[Mexico]] in October 1985.{{sfn|Kezich|2006|pp=360–361}} When Castaneda inexplicably disappeared and the project fell through, Fellini's mystico-shamanic adventures were scripted with Pinelli and serialized in ''[[Corriere della Sera]]'' in May 1986. A barely veiled satirical interpretation of Castaneda's work,{{sfn|Kezich|2006|p=362}} ''Viaggio a Tulun'' was published in 1989 as a [[graphic novel]] with artwork by [[Milo Manara]] and as ''Trip to Tulum'' in America in 1990.

For ''[[Intervista]]'', produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited [[Cinecittà]] in 1939 with present-day footage of himself at work on a screen adaptation of [[Franz Kafka]]'s ''[[Amerika (novel)|Amerika]]''. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the [[15th Moscow International Film Festival]] Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the world's best director and ''{{Fraction|8|1|2}}'' the best European film of all time.{{sfn|Burke|Waller|2003|p=16}}

In early 1989 Fellini began production on ''[[The Voice of the Moon]]'', based on Ermanno Cavazzoni's novel, ''Il poema dei lunatici'' (''The Lunatics' Poem''). A small town was built at Empire Studios on the via Pontina outside Rome. Starring [[Roberto Benigni]] as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of ''La Strada''{{'}}s Gelsomina, [[Pinocchio]], and Italian poet [[Giacomo Leopardi]].{{sfn|Bondanella|1992|p=330}} Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.{{sfn|Kezich|2006|p=383}} Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.{{sfn|Segrave|2004|p=179}}

Fellini won the ''[[Praemium Imperiale]]'', an international prize in the visual arts given by the Japan Art Association in 1990.<ref>{{harvnb|Kezich|2006|p=387}}. The award covers five disciplines: painting, sculpture, architecture, music, and theatre/film. Other winners include [[Akira Kurosawa]], [[David Hockney]], [[Balthus]], [[Pina Bausch]], and [[Maurice Béjart]].</ref>

===Final years (1991–1993)===
In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker [[Damian Pettigrew]] to establish "the longest and most detailed conversations ever recorded on film".<ref>Peter Bondanella, Review of ''Fellini: I'm a Born Liar'' in ''[[Cineaste Magazine]]'' (22 September 2003), p. 32</ref> Described as the "Maestro's spiritual testament" by his biographer [[Tullio Kezich]],<ref>[[Tullio Kezich|Kezich, Tullio]], "Forword" in ''I'm a Born Liar: A Fellini Lexicon'', 5. Also cf. {{harvnb|Kezich|2006|p=388}}</ref> excerpts culled from the conversations later served as the basis of their feature documentary, ''[[Fellini: I'm a Born Liar]]'' (2002) and the book, ''[[I'm a Born Liar: A Fellini Lexicon]]''.

In April 1993 Fellini received his fifth [[Academy Awards|Oscar]], for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in [[Zürich]] for an [[angioplasty]] on his [[femoral artery]]{{sfn|Kezich|2006|p=396}} but suffered a [[stroke]] at Rimini's [[Grand Hotel Rimini|Grand Hotel]] two months later. Partially paralyzed, he was first transferred to [[Ferrara]] for rehabilitation and then to the [[Policlinico Umberto I]] in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible [[coma]].<ref>{{Cite web|url=https://archive.nytimes.com/www.nytimes.com/learning/general/onthisday/bday/0120.html|title=Federico Fellini, Film Visionary, Is Dead at 73|website=archive.nytimes.com|access-date=24 February 2018}}</ref>

==Death==
{{See also|Monumental Cemetery of Rimini#La grande prua}}
Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier,<ref>[https://www.nytimes.com/1993/11/01/obituaries/federico-fellini-film-visionary-is-dead-at-73.html Federico Fellini, Film Visionary, Is Dead at 73], nytimes.com; accessed 28 August 2017.</ref> a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people.{{sfn|Kezich|2006|p=416}} At [[Giulietta Masina]]'s request, trumpeter [[Mauro Maur]] played [[Nino Rota]]'s "Improvviso dell'Angelo" during the ceremony.<ref>{{cite web|url=http://www.santamariadegliangeliroma.it/paginamastersing.html?codice_url=fellini_funerali&lingua=ITALIANO&ramo_home=Eventi|title=Fellini funerali – Basilica di Santa Maria degli Angeli e dei Martiri alle Terme di Diocleziano di Roma|work=santamariadegliangeliroma.it|language=it}}</ref>

Five months later, on 23 March 1994, Masina died of [[lung cancer]]. Fellini is buried with Masina and their son, Pierfederico, in a bronze sepulchre sculpted by [[Arnaldo Pomodoro]] in the [[Monumental Cemetery of Rimini]].<ref name=":3">{{Cite web |last=Sintini |first=Matteo |title=Tomba di Federico Fellini |trans-title=Federico Fellini's tomb |url=http://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=152363 |access-date=17 January 2024 |website=Patrimonio Culturale dell'Emilia Romagna |language=it}}</ref><ref>{{Cite web |last=Gatti |first=Francesco |title=Fellini 20 anni dopo, cerimonia a Rimini sulle note di una cornamusa |trans-title=Fellini 20 years later: Ceremony in Rimini to the notes of a bagpipe |url=https://www.rainews.it/dl/rainews/articoli/ContentItem-42e8f021-442c-4119-87bd-1dafd19f7d24.html |access-date=17 January 2024 |website=[[RAI]] |language=it-IT}}</ref> Rimini's [[Federico Fellini Airport]] is named in his honour.

==Religious views==
Fellini was raised in a Roman Catholic family and considered himself a Catholic, but avoided formal activity in the Catholic Church. Fellini's films include Catholic themes; some celebrate Catholic teachings, while others criticize or ridicule church dogma.<ref name="ADH-20050902">{{cite web|author=Staff|title=The Religious Affiliation of Director Federico Fellini|url=http://www.adherents.com/people/pf/Federico_Fellini.html|archive-url=https://web.archive.org/web/20050716085324/http://www.adherents.com/people/pf/Federico_Fellini.html|url-status=usurped|archive-date=16 July 2005|date=2 September 2005|work=Adherents.com|access-date=28 June 2016}}</ref>

Despite his criticisms of the Church though, Fellini did go out of his way on several occasions to identify himself as a Christian. He once remarked:
{{Blockquote |The Church never gave me joy. ... (but) I am a Christian. I believe in the necessity of God. Because I believe in man. And God is the love of man.<ref name="Carrera2019">{{cite book|last=Carrera|first=Alessandro|title=Fellini's Eternal Rome: Paganism and Christianity in the Films of Federico Fellini|year=2019|publisher=Bloomsbury Academic|location=London and New York|pages=|isbn=9781474297615|url=https://www.cambridge.org/core/journals/classical-review/article/abs/fellini-and-rome-a-carrera-fellinis-eternal-rome-paganism-and-christianity-in-the-films-of-federico-fellini-pp-xii-186-london-and-new-york-bloomsbury-academic-2019-cased-75-us102-isbn-9781474297615/64E9518F7928E4E5D53647D0547B3A77#access-block}}</ref>}}

And according to reports, when Fellini died in 1993, he was in communion with the Catholic Church. He received the sacrament of the Anointing of the Sick and was given a Catholic funeral Mass.<ref name="GeorgiaBulletin2011">{{cite web|title=Fellini's La Strada Emphasizes Catholic Truths|work=The Georgia Bulletin|date=September 2011|url=https://georgiabulletin.org/news/2011/09/fellinis-la-strada-emphasizes-catholic-truths/|access-date=2 April 2025}}</ref> His funeral procession took place in a traditional Roman Catholic church.<ref name="UPI1993">{{cite web|title=Emotional Scenes Mark Director Fellini's State Funeral|work=UPI Archives|date=3 November 1993|url=https://www.upi.com/Archives/1993/11/03/Emotional-scenes-mark-director-Fellinis-state-funeral/5205752302800/|access-date=2 April 2025}}</ref>

==Political views==
While Fellini was for the most part indifferent to politics,{{sfn|Kezich|2006|p=45}} he had a general dislike of [[authoritarianism|authoritarian]] institutions, and is interpreted by Bondanella as believing in "the dignity and even the [[Humanism|nobility of the individual human being]]".{{sfn|Bondanella|2002|p=119}} In a 1966 interview, he said, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics."<ref>{{cite book|url=https://archive.org/details/federicofellini00fede|url-access=registration|title=Federico Fellini: Interviews|page=[https://archive.org/details/federicofellini00fede/page/63 63]|editor-last=Cardullo|editor-first=Bert|publisher=Univ. Press of Mississippi|date=2006|isbn=978-1-57806-885-2}}</ref>

Despite various famous Italian actors favouring the [[Italian Communist Party|Communists]], Fellini was opposed to communism. He preferred to move within the world of the moderate [[left-wing|left]], and voted for the [[Italian Republican Party]] of his friend [[Ugo La Malfa]] as well as the reformist socialists of [[Pietro Nenni]], another friend of his, and voted only once for the [[Christian Democracy (Italy)|Christian Democracy]] party (''Democrazia Cristiana'', DC) in 1976 to keep the Communists out of power.<ref>{{cite book |last1=Minuz |first1=Andrea |title=Political Fellini: Journey to the End of Italy |date=2015 |publisher=Berghahn Books |page=183}}</ref> Bondanella writes that DC "was far too aligned with an extremely conservative and even reactionary pre-Vatican II church to suit Fellini's tastes."{{sfn|Bondanella|2002|p=119}}

Apart from satirizing [[Silvio Berlusconi]] and mainstream television in ''[[Ginger and Fred]]'',{{sfn|Kezich|2006|p=367}} Fellini rarely expressed political views in public and never directed an overtly political film. He directed two electoral television spots during the 1990s: one for DC and another for the [[Italian Republican Party]] (PRI).<ref>{{cite news|language=it|url=http://archiviostorico.corriere.it/1992/marzo/18/con_PRI_Federico_Fellini_sponsor_co_0_92031817413.shtml|title=Con DC e PRI, Federico Fellini sponsor di due nemicicon DC e PRI, Federico Fellini sponsor di due nemici|journal=Il Corriere della Sera|date=18 March 1992}}</ref> His slogan "Non si interrompe un'emozione" (''Don't interrupt an emotion'') was directed against the excessive use of TV advertisements. The [[Democratic Party of the Left]] also used the slogan in the [[Italian referendum, 1995|referendums of 1995]].{{sfn|Dagnino|2019|p=39}}

==Influence and legacy==
[[File:Fellini plaque, Via Veneto.jpg|thumb|Dedicatory plaque to Fellini on [[Via Veneto]], Rome:<br />"To Federico Fellini, who made [[Via Veneto]] the stage for the ''[[La Dolce Vita]]'' – [[SPQR]] – 20 January 1995"]]

Personal and highly [[idiosyncratic]] visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general".{{sfn|Bondanella|2002|p=8}} ''La Dolce Vita'' contributed the term ''[[paparazzi]]'' to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini ([[Marcello Mastroianni]]).<ref>Ennio Flaiano, the film's co-screenwriter and creator of Paparazzo, explained that he took the name from Signor Paparazzo, a character in [[George Gissing]]'s novel ''By the Ionian Sea'' (1901). Bondanella, ''The Cinema of Federico Fellini'', p. 136</ref>

Contemporary filmmakers such as [[Martin Scorsese]], [[Woody Allen]], [[Pedro Almodóvar]], [[Roy Andersson]], [[Darren Aronofsky]], [[Greta Gerwig]], [[Ari Aster]], [[Tim Burton]],<ref>{{Cite web|url=http://www.timburtoncollective.com/influences.html|archive-url=https://web.archive.org/web/20070616054156/http://www.timburtoncollective.com/influences.html|url-status=dead|title=Tim Burton Collective|archive-date=16 June 2007}}</ref> [[Terry Gilliam]],<ref>[http://archive.sensesofcinema.com/contents/directors/03/gilliam.html Gilliam at Senses of Cinema] {{webarchive|url=https://web.archive.org/web/20100209065159/http://archive.sensesofcinema.com/contents/directors/03/gilliam.html |date=9 February 2010 }}; accessed 17 September 2008.</ref> [[Emir Kusturica]],<ref>[https://web.archive.org/web/20041127163516/http://www.findarticles.com/p/articles/mi_m1285/is_9_29/ai_55683952 Kusturica Interview at BNET]; accessed 17 September 2008.</ref> [[Peter Greenaway]], [[Alejandro González Iñárritu]], [[Luca Guadagnino]], [[Alejandro Jodorowsky]], [[Yorgos Lanthimos]], [[George Lucas]], [[David Lynch]],<ref>[http://www.thecityofabsurdity.com/quotecollection/infl.html City of Absurdity Quote Collection]; accessed 17 September 2008.</ref> [[Paolo Sorrentino]], and [[Giuseppe Tornatore]]  have cited Fellini's influence on their work.

Polish director [[Wojciech Has]], whose two best-received films, ''[[The Saragossa Manuscript (film)|The Saragossa Manuscript]]'' (1965) and ''[[The Hour-Glass Sanatorium]]'' (1973), are examples of [[modernist]] fantasies, has been compared to Fellini for the sheer "luxuriance of his images".<ref>Gilbert Guez, review of ''The Saragossa Manuscript'' in ''[[Le Figaro]]'', September 1966, p. 23</ref>

[[Roman Polanski]] considered Fellini to be among the three film-makers he favored most, along with [[Akira Kurosawa]] and [[Orson Welles]].<ref>{{Harvnb|Morrison|2007|p=160}}.</ref>

''I Vitelloni'' inspired European directors [[Juan Antonio Bardem]], [[Marco Ferreri]], and [[Lina Wertmüller]] and influenced [[Martin Scorsese]]'s ''[[Mean Streets]]'' (1973),<ref name="HM-202103">{{cite magazine |last=Scorsese |first=Martin |author-link=Martin Scorsese |title=Il Maestro – Federico Fellini and the lost magic of cinema |url=https://harpers.org/archive/2021/03/il-maestro-federico-fellini-martin-scorsese/ |date=March 2021 |magazine=[[Harper's Magazine]] |accessdate=October 28, 2022 }}</ref> [[George Lucas]]'s ''[[American Graffiti]]'' (1974), [[Joel Schumacher]]'s ''[[St. Elmo's Fire (film)|St. Elmo's Fire]]'' (1985), and [[Barry Levinson]]'s ''[[Diner (1982 film)|Diner]]'' (1982), among many others.{{sfn|Kezich|2006|p=137}} When the American magazine ''Cinema'' asked [[Stanley Kubrick]] in 1963 to name his ten favorite films, he ranked ''[[I Vitelloni]]'' number one.<ref>Ciment, Michel. [http://www.visual-memory.co.uk/amk/doc/milestones.html "Kubrick: Biographical Notes"]; accessed 23 December 2009.</ref>

International film directors who have named ''La Strada'' as one of their favorite films include [[Stanley Kwan]], [[Anton Corbijn]], [[Gillies MacKinnon]], [[Andreas Dresen]], [[Jiří Menzel]], [[Adoor Gopalakrishnan]], [[Mike Newell (director)|Mike Newell]], [[Rajko Grlić]], [[Spike Lee]], [[Laila Pakalniņa]], [[Ann Hui]], [[Akira Kurosawa]],<ref>{{cite web|title=Akira kurosawa Lists His 100 Favourite Films|url=https://www.openculture.com/2015/01/akira-kurosawas-list-of-his-100-favorite-movies.html|website=openculture}}</ref> [[Kazuhiro Soda]], [[Julian Jarrold]], [[Krzysztof Zanussi]], and [[Andrey Konchalovsky]].<ref>{{cite web|title=strada, La|url=http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b6b7aca|archive-url=https://web.archive.org/web/20120820024532/http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6b6b7aca|url-status=dead|archive-date=20 August 2012|work=The Greatest Films Poll – Sight & Sound|publisher=British Film Institute|access-date=10 October 2013}}</ref> [[David Cronenberg]] credits ''La Strada'' for opening his eyes to the possibilities of cinema when, as a child, he saw adults leave a showing of the film openly weeping.<ref name="Konbini">{{Cite AV media |url=https://www.youtube.com/watch?v=veBhrS9Dkmk |title=Le Vidéo Club de David Cronenberg : de Brigitte Bardot à Total Recall (avec du Cannes et Star Wars) |access-date=May 24, 2022}}</ref>

''Nights of Cabiria'' was adapted as the Broadway musical ''[[Sweet Charity]]'' and the movie ''[[Sweet Charity (film)|Sweet Charity]]'' (1969) by [[Bob Fosse]] starring [[Shirley MacLaine]]. ''City of Women'' was adapted for the Berlin stage by [[Frank Castorf]] in 1992.{{sfn|Burke|1996|p=20}}

''{{Fraction|8|1|2}}'' inspired, among others, ''[[Mickey One]]'' ([[Arthur Penn]], 1965), ''[[Alex in Wonderland]]'' ([[Paul Mazursky]], 1970), ''[[Beware of a Holy Whore]]'' ([[Rainer Werner Fassbinder]], 1971), ''[[Day for Night (film)|Day for Night]]'' ([[François Truffaut]], 1973), ''[[All That Jazz (film)|All That Jazz]]'' ([[Bob Fosse]], 1979), ''[[Stardust Memories]]'' ([[Woody Allen]], 1980), ''[[Sweet Dreams (1981 film)|Sogni d'oro]]'' ([[Nanni Moretti]], 1981), ''[[Planet Parade|Parad Planet]]'' ([[Vadim Abdrashitov]], 1984), ''[[La Película del rey]]'' ([[Carlos Sorin]], 1986), ''[[Living in Oblivion]]'' ([[Tom DiCillo]], 1995), ''[[8½ Women|{{Fraction|8|1|2}} Women]]'' ([[Peter Greenaway]], 1999), ''[[Falling Down]]'' ([[Joel Schumacher]], 1993), and the [[Broadway theatre|Broadway]] musical ''[[Nine (musical)|Nine]]'' ([[Maury Yeston]] and [[Arthur Kopit]], 1982).<ref>Numerous sources include Affron, Alpert, Bondanella, Kezich, Miller ''et al.''{{full citation needed|date=September 2021}}</ref> ''[[Yo-Yo Boing!]]'' (1998), a Spanish novel by Puerto Rican writer [[Giannina Braschi]], features a dream sequence with Fellini inspired by ''{{Fraction|8|1|2}}''.<ref>Introduction to Giannina Braschi's ''Yo-Yo Boing!'', Doris Sommer, Harvard University, Latin American Literary Review Press, 1998.<!--ISSN/ISBN, page(s) needed--></ref>

''[[Alice (1990 film)|Alice]]'' by Woody Allen is a loose reworking of Fellini's 1965 film ''Juliet of the Spirits''.<ref>{{cite web |last=Stevenson |first=Billy |url=https://brightlightsfilm.com/mia-spirits-woody-allens-alice-1990/ |title=Mia of the Spirits: Woody Allen's ''Alice'' (1990) |website=[[Bright Lights Film Journal]] |date=October 15, 2016 |access-date=November 11, 2023}}</ref>

Fellini's work is referenced on the albums ''[[Fellini Days]]'' (2001) by [[Fish (singer)|Fish]], ''[[Another Side of Bob Dylan]]'' (1964) by ''[[Bob Dylan]]'' with ''[[Motorpsycho Nitemare]]'', ''[[Funplex]]'' (2008) by [[the B-52's]] with the song ''Juliet of the Spirits'', and in the opening traffic jam of the music video ''Everybody Hurts'' by R.E.M.{{sfn|Miller|2008|p=7}} American singer [[Lana Del Rey]] has cited Fellini as an influence.<ref>{{cite web|first=Amy|last=Sciarretto|url=http://www.artistdirect.com/entertainment-news/article/lana-del-rey-is-working-on-new-music-and-shared-some-hints-about-it/11313805|title=Lana Del Rey Is Working on New Music and Shared Some Hints About It|work=[[Artistdirect]]|date=20 January 2015|access-date=16 February 2016|archive-date=24 February 2016|archive-url=https://web.archive.org/web/20160224065550/http://www.artistdirect.com/entertainment-news/article/lana-del-rey-is-working-on-new-music-and-shared-some-hints-about-it/11313805|url-status=dead}}</ref> His work influenced the American TV shows ''[[Northern Exposure]]'' and ''[[Third Rock from the Sun]]''.{{sfn|Burke|Waller|2003|p=15}} [[Wes Anderson]]'s short film ''[[Castello Cavalcanti]]'' (2013) is in many places a direct homage to Fellini.<ref>{{cite news|url=http://www.slate.com/blogs/browbeat/2013/11/13/wes_anderson_new_short_film_castello_cavalcanti_starring_jason_schwartzman.html|title= Wes Anderson Honors Fellini in a Delightful New Short Film|access-date=12 November 2013|work=Slate|date=12 November 2013}}</ref> In 1996, ''[[Entertainment Weekly]]'' ranked Fellini tenth on its "50 Greatest Directors" list.<ref>{{cite web|title=Greatest Film Directors and Their Best Films |publisher=[[Filmsite.org]] |url=http://www.filmsite.org/directors5.html |access-date=19 April 2009 |url-status=dead |archive-url=https://web.archive.org/web/20150419021840/http://www.filmsite.org/directors2.html|archive-date=19 April 2015 }}</ref><ref>{{cite web|title=Greatest Film Directors|url=https://www.filmsite.org/directors.html|website=filmsite.org}}</ref> In 2002 [[MovieMaker]] magazine ranked Fellini No. 9 on their list of ''The 25 Most Influential Directors of All Time''.<ref>{{cite web|title=The 25 Most Influential Directors of All Time|url=https://www.moviemaker.com/25-most-influential-directors-of-all-time-scorsese-kubrick-welles/4/|website=MovieMaker|date=7 July 2002}}</ref> In 2007, ''[[Total Film]]'' magazine ranked Fellini at No. 67 on its "100 Greatest Film Directors Ever" list.<ref>{{cite web|title=The Greatest Directors Ever by ''Total Film'' Magazine |publisher=[[Filmsite.org]] |url=http://www.filmsite.org/greatdirectors-totalfilm2.html |access-date=19 April 2009 |url-status=dead |archive-url=https://web.archive.org/web/20140702113557/http://www.filmsite.org/greatdirectors-totalfilm.html|archive-date=2 July 2014 }}</ref>

Various film-related material and personal papers of Fellini are in the [[Wesleyan University]] Cinema Archives, to which scholars and media experts have full access.<ref>{{cite web|url=http://www.wesleyan.edu/cinema|title=Cinema Archives|publisher=[[Wesleyan University]]}}</ref> In October 2009, the [[Jeu de Paume]] in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, ''The Book of Dreams'' (based on 30 years of the director's illustrated dreams and notes), along with excerpts from ''La dolce vita'' and ''{{Fraction|8|1|2}}''.<ref>{{Cite web |last=Baker |first=Tamzin |date=3 November 2009 |title=Federico Fellini |url=http://www.blouinartinfo.com/news/story/32958/federico-fellini |archive-url=https://web.archive.org/web/20161221134300/http://www.blouinartinfo.com/news/story/32958/federico-fellini |archive-date=21 December 2016 |access-date=13 January 2021 |publisher=[[Modern Painters (magazine)|Modern Painters]] |website=www.blouinartinfo.com}}</ref>

In 2014 the weekly entertainment-[[trade magazine]] ''[[Variety (magazine)|Variety]]'' announced that French director [[Sylvain Chomet]] was moving forward with ''[[The Thousand Miles]]'', a project based on various Fellini works, including his unpublished drawings and writings.<ref>[https://variety.com/2014/film/news/sylvain-chomet-steps-up-for-the-thousand-miles-1201219944 "Sylvain Chomet Steps Up for ''The Thousand Miles''], Variety.com; accessed 28 August 2017.</ref>

Also in 2014, the [[Blue Devils Drum and Bugle Corps]] performed their program ''Felliniesque'', a show inspired by the works and life of Fellini. This show would go on to earn the gold medal at the [[Drum Corps International]] 2014 world championships, and as of 2024 is the highest scoring show in [[Drum and bugle corps (modern)|Drum corps]] history with a score of 99.650.

The [[Fellini Museum]], which showcases his films and collection, was inaugurated in Rimini in August 2021.<ref name=NYT-2021>{{cite news |title=A Fellini Museum, as Lavish as His Movies |date=31 August 2021 |last=Povoledo |first=Elisabetta |work=[[The New York Times]] |access-date=19 August 2024 |url=https://www.nytimes.com/2021/08/31/movies/fellini-museum-rimini-italy.html}}</ref>

==Filmography==
{| class="wikitable"
|-
! Year
! Title
! Director
! Writer
! Notes
|-

| rowspan="2" | 1942 || ''[[Knights of the Desert (film)|Knights of the Desert]]'' || {{no}}||{{yes}}||
|-
| ''[[Before the Postman]]'' || {{no}}||{{yes}}||
|-
| rowspan="2" | 1943 || ''[[The Peddler and the Lady]]'' || {{no}}||{{yes}}||
|-
| ''[[L'ultima carrozzella]]'' ||  {{no}}||{{yes}}||
|-
| rowspan="2" | 1945 || ''[[Tutta la città canta]]'' ||  {{no}}||{{yes}}||
|-
| ''[[Rome, Open City]]'' || {{no}}||{{yes}}||
|-
| 1946 || ''[[Paisà]]'' ||  {{no}}||{{yes}}||
|-
| 1947 || ''[[Il delitto di Giovanni Episcopo]]'' ||  {{no}}||{{yes}}||
|-
| rowspan="2" | 1948 || ''[[Without Pity (1948 film)|Senza pietà]]'' ||  {{no}}||{{yes}}||
|-
| ''[[L'Amore (film)|Il miracolo]]'' ||  {{no}}||{{yes}}||
|-
| 1949 || ''[[The Mill on the Po|Il mulino del Po]]'' ||  {{no}}||{{yes}}||
|-
| rowspan="3" | 1950 || ''[[Francesco, giullare di Dio]]'' || {{no}}||{{yes}}||
|-
| ''[[Il Cammino della speranza]]'' ||  {{no}}||{{yes}}||
|-
| ''[[Variety Lights]]'' || {{yes}}||{{yes}}||Co-directed with Alberto Lattuada
|-
| rowspan="2" | 1951 || ''[[Four Ways Out|La città si difende]]'' || {{no}}||{{yes}}||
|-
|  ''[[Persiane chiuse]]'' || {{no}}||{{yes}}||
|-
| rowspan="2" | 1952 || ''[[The White Sheik]]'' || {{yes}}||{{yes}}||
|-
|  ''[[The Bandit of Tacca Del Lupo|Il brigante di Tacca del Lupo]]'' || {{no}}||{{yes}}||
|-
| rowspan="2" | 1953 || ''[[I Vitelloni]]'' || {{yes}}||{{yes}}||
|-
| ''[[Love in the City (1953 film)|Love in the City]]'' || {{Partial}}||{{Partial}}||Segment: "Un'agenzia matrimoniale"
|-
| 1954 || ''[[La Strada]]'' || {{yes}}||{{yes}}||
|-
| 1955 || ''[[Il bidone]]'' || {{yes}}||{{yes}}||
|-
| 1957 || ''[[Nights of Cabiria]]'' || {{yes}}||{{yes}}||
|-
| 1958 ||  ''[[Fortunella (film)|Fortunella]]'' || {{no}}||{{yes}}||
|-
| 1960 || ''[[La Dolce Vita]]'' || {{yes}}||{{yes}}||
|-
| 1962 || ''[[Boccaccio '70]]'' || {{Partial}}||{{Partial}}||Segment: "Le tentazioni del Dottor Antonio"
|-
| 1963 || ''[[8½|{{Fraction|8|1|2}}]]'' || {{yes}}||{{yes}}||
|-
| 1965 || ''[[Juliet of the Spirits]]'' || {{yes}}||{{yes}}||
|-
| 1968 || ''[[Spirits of the Dead]]'' || {{Partial}}||{{Partial}}||Segment: "Toby Dammit"
|-
| rowspan="2" | 1969 || ''[[Fellini: A Director's Notebook]]'' ||{{yes}}||{{yes}}|| TV Documentary
|-
| ''[[Fellini Satyricon]]'' || {{yes}}||{{yes}}||
|-
| 1970 || ''[[I Clowns]]'' ||  {{yes}}||{{yes}}||
|-
| 1972 || ''[[Roma (1972 film)|Roma]]'' || {{yes}}||{{yes}}||
|-
| 1973 || ''[[Amarcord]]'' || {{yes}}||{{yes}}||
|-
| 1976 || ''[[Fellini's Casanova]]'' || {{yes}}||{{yes}}||
|-
| 1978 || ''[[Orchestra Rehearsal]]'' || {{yes}}||{{yes}}||
|-
| 1980 || ''[[City of Women]]'' ||{{yes}}||{{yes}}||
|-
| 1983 || ''[[And the Ship Sails On]]'' || {{yes}}||{{yes}}||
|-
| 1986 || ''[[Ginger and Fred]]'' || {{yes}}||{{yes}}||
|-
| 1987 || ''[[Intervista]]'' || {{yes}}||{{yes}}||
|-
| 1990 || ''[[The Voice of the Moon]]'' || {{yes}}||{{yes}}||
|}

'''Television commercials'''
* TV commercial for [[Campari Soda]] (1984)
* TV commercial for [[Barilla (company)|Barilla pasta]] (1984)
* Three TV commercials for [[Banca di Roma]] (1992)

==Awards and nominations==
{{main|List of awards and nominations received by Federico Fellini}}

==Documentaries on Fellini==
* ''Ciao Federico'' (1969). Dir. Gideon Bachmann (60').
* ''Federico Fellini – {{lang|it|un autoritratto ritrovato}}'' (2000). Dir. Paquito Del Bosco ([[RAI TV]], 68').
* ''[[Fellini: I'm a Born Liar]]'' (2002). Dir. [[Damian Pettigrew]]. Feature documentary ([[Arte]], [[Eurimages]], [[Scottish Screen]], 102').
* ''[[How Strange to Be Named Federico]]'' (2013). Dir. [[Ettore Scola]].
* ''[[Fellini degli spiriti]]'' (2020). Dir. {{ill|Selma Dell'Olio|it|Anselma Dell'Olio}}.

==See also==
*[[Art film]]
*[[Sergio Zavoli]] – Riminese sports and documentary journalist, a close friend of Fellini<ref name=":0">{{Cite web |last=Colasanto |first=Lina |date=5 August 2020 |title=Addio a Sergio Zavoli, l'intellettuale della tv grande amico di Fellini |trans-title=Goodbye to Sergio Zavoli, the TV intellectual who was a great friend of Fellini |url=https://www.riminitoday.it/cronaca/rimini-morto-sergio-zavoli-morte-riminese.html |access-date=10 January 2024 |website=RiminiToday |language=it}}</ref><ref name=":19">{{Cite web |last= |date=6 August 2020 |title=Sergio Zavoli e quella Rimini "innaturale" che lo ferì |trans-title=Sergio Zavoli and that "unnatural" Rimini that wounded him |url=https://www.riminiduepuntozero.it/sergio-zavoli-e-quella-rimini-innaturale-che-lo-feri/ |access-date=12 February 2024 |website=Riminiduepuntozero |language=it-IT}}</ref>

==Notes==
{{notelist
| refs =
{{efn
| name = bondanella-1978
| {{harvnb|Bondanella|1978|p=167}}. In his study of ''Fellini Satyricon'', Italian novelist [[Alberto Moravia]] observes that with "the oars of his galleys suspended in the air, Fellini revives for us the lances of the battle in Eisenstein's ''[[Alexander Nevsky (film)|''Alexander Nevsky'' (film)]]''.
}}
{{efn
| name = fellini-pettigrew-2003
| {{harvnb|Fellini|Pettigrew|2003|p=87}}. Buñuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular kinds of films.
}}
{{efn
| name = fellini-pettigrew-marx-brothers
| {{harvnb|Fellini|Pettigrew|2003|pp=17–18}}. Roberto Rossellini walked into my life at a moment when I needed to make a choice, when I needed someone to show me the path to follow. He was the stationmaster, the green light of providence... He taught me how to thrive on chaos by ignoring it and focusing on what was essential: constructing your film day by day. In ''Fellini on Fellini'', the director explains that his "meeting with Rossellini was a determining factor... he taught me to make a film as if I were going for a picnic with friends".
}}
{{efn
| name = stubbs-2006
| {{harvnb|Stubbs|2006|pp=152–153}}. One of Cabiria's finest moments comes in the movie's nightclub scene. It begins when the actor's girlfriend deserts him, and the star picks up Cabiria on the street as a replacement. He whisks her away to the nightclub. Fellini has admitted that this scene owes a debt to Chaplin's City Lights (1931). Peter Bondanella points out that Gelsomina's costume, makeup, and antics as a clown figure had "clear links to Fellini's past as a cartoonist-imitator of Happy Hooligan and Charlie Chaplin.
}}
}}

==References==
{{Reflist}}

===Sources===
{{div col|colwidth=45em}}
* {{cite book |title=Fellini, a life |last=Alpert |first=Hollis |date=1988 |publisher=Paragon House |isbn=978-1-55778-000-3 |location=New York}}
* {{cite book |title=Federico Fellini : essays in criticism |last=Bondanella |first=Peter |date=1978 |publisher=Oxford University Press |isbn=978-0-19-502274-2 |location=New York |url-access=registration |url=https://archive.org/details/federicofellinie00bond }}
* {{cite book |title=The Cinema of Federico Fellini |last=Bondanella |first=Peter |date=1992 |publisher=Princeton University Press |isbn=978-0-691-00875-2 |location=Princeton, N.J.}}
* {{cite book |title=The Films of Federico Fellini |last=Bondanella |first=Peter |date=2002 |publisher=Cambridge University Press |isbn=978-0-511-06572-9 |location=Cambridge}}
* {{cite book |title=Fellini's films : from postwar to postmodern |last=Burke |first=Frank |date=1996 |publisher=Twayne Publishers |isbn=978-0-8057-3893-3 |location=New York |pages=[https://archive.org/details/fellinisfilmsfro00burk/page/20 20] |url=https://archive.org/details/fellinisfilmsfro00burk/page/20 }}
* {{cite book |title=Federico Fellini: Contemporary Perspectives |last1=Burke |first1=Frank |last2=Waller |first2=Marguerite R. |date=2003 |publisher=University of Toronto Press |isbn=978-0-8020-7647-2 |location=Toronto, Ont. |url-access=registration |url=https://archive.org/details/federicofellinic0000unse }}
* {{cite book |last=Dagnino |first=Gloria |date=2019 |title=Branded entertainment and cinema: the marketisation of Italian film |isbn=978-1-351-16684-3 |location=London}}
* {{cite book |last1=Fava |first1=Claudio G. |title=I film di Federico Fellini |last2=Viganò |first2=Aldo |date=1995 |publisher=Gremese Editore |isbn=978-88-7605-931-5 |language=it |trans-title=Federico Fellini's films}}
* {{cite book |title=Comments on Film |last=Fellini |first=Federico |date=1988 |publisher=Press at California State University, Fresno |isbn=978-0-912201-15-3 |location=Fresno, Calif.}}
* {{cite book |title=I'm a born liar: a Fellini lexicon |last1=Fellini |first1=Federico |last2=Pettigrew |first2=Damian |date=1 December 2003 |publisher=Harry N. Abrams |isbn=978-0-8109-4617-0 |location=New York, NY }}
* {{cite book |title=Federico Fellini: His Life and Work |last=Kezich |first=Tullio |date=2006 |publisher=Faber and Faber |isbn=978-0-571-21168-5 |edition=1st American |location=New York |url-access=registration |url=https://archive.org/details/federicofellinih00kezi }}
* {{cite book |title=8 1/2 = Otto e mezzo |last=Miller |first=D. A. |date=2008 |publisher=Palgrave Macmillan |isbn=978-1-84457-231-1 |location=Basingstoke, Hampshire}}
* {{cite book |title=Passion and Defiance: Italian Film from 1942 to the Present |last=Liehm |first=Mira |date=1984 |publisher=University of California Press |isbn=978-0-520-05744-9 |location=Berkeley (Calif.)}}
* {{cite book |last=Morrison |first=James |title=Roman Polanski (Contemporary Film Directors) |year=2007 |publisher=University of Illinois Press |isbn=978-0-252-07446-2}}
* {{cite book |last=Stubbs |first=John Caldwell |title=Federico Fellini as auteur: seven aspects of his films |date=2006 |publisher=Southern Illinois University Press |isbn=0-8093-2689-2 |location=Carbondale }}
* {{cite book |last=Segrave |first=Kerry |title=Foreign Films in America: A History |date=2004 |publisher=McFarland & Co |isbn=0-7864-1764-1 |location=Jefferson, N.C.}}
{{div col end}}

==Further reading==
{{div col|colwidth=45em}}
* {{cite book |title=Giulietta Masina: attrice e sposa di Federico Fellini |last=Angelucci |first=Gianfranco |publisher=Edizioni Sabinae |year=2014 |isbn=978-88-98623-11-2 |location=Rom, Centro Sperimentale di Cinematografia|ref=none}}
* {{cite book |title=Federico Fellini: La dolce vita: cronaca di una passione |last=Arpa |first=Angelo |date=2010 |publisher=Sabinae |isbn=978-88-96105-56-6 |edition=1. |location=Rome|ref=none}}
* {{cite book |title=L'enigma di un genio: Capire il linguaggio di Federico Fellini |last=Ashough |first=Jamshid |date=2016 |publisher=Zona Franca EDizioni |isbn=978-88-905139-4-7 |location=Pescara|ref=none}}
* {{cite book |title=BiblioFellini: monografie, soggetti e sceneggiature, saggi in volume |last1=Bertozzi |first1=Marco |last2=Ricci |first2=Giuseppe |last3=Casavecchia |first3=Simone |date=2002 |publisher=Scuola nazionale di cinema |location=Rome |language=it|ref=none}}
* {{cite book |title=Fellini: An Intimate Portrait |last=Betti |first=Liliana |date=1979 |publisher=Little, Brown |isbn=978-0-316-09230-2 |edition=1st Eng. language |location=Boston|ref=none}}
* {{cite book |title=Federico Fellini: Leone d'Oro, Venezia 1985 |last=Cinfarani |first=Carmine |publisher=Anica |location=Rome|ref=none}}
* {{cite book |last=Fellini |first=Federico |url=https://books.google.com/books?id=HghoAAAAMAAJ |title=Fellini on Fellini |date=1976 |publisher=Methuen |isbn=978-0-413-33640-8 |translator-last=Quigly |translator-first=Isabel|ref=none}}
* {{cite book |title=The Book of Dreams |last=Fellini |first=Federico. |date=2008 |publisher=Rizzoli International |isbn=978-0-8478-3135-7 |location=New York|ref=none}}
* {{cite book |title=Making a Film |last=Fellini |first=Federico |date=2015 |publisher=Contra Mundum Press |isbn=978-1-940625-09-6 |location=New York, NY |translator-last=Calvino |translator-first=Italo |translator-last2=White |translator-first2=Christopher Burton |translator-last3=Betti |translator-first3=Liliana|ref=none}}
* {{cite book |title=I disegni di Fellini |last1=Fellini |first1=Federico |last2=Santi |first2=Pier Marco De |date=1982 |publisher=Laterza |language=it|ref=none}}
* {{cite book |last1=Kezich |first1=Tullio |editor1-last=Boarini |editor1-first=Vittorio |title=Federico Fellini: The Films |date=2010 |publisher=Rizzoli |location=New York |isbn=978-0847832699}}
* {{cite book |title=Trip to Tulum: from a script for a film idea |last1=Manara|first1=Milo|author1-link=Milo Manara|last2=Fellini |first2=Federico |date=1990 |publisher=Catalán Communications |isbn=978-0-87416-123-6 |translator-last=Gaudiano |translator-first=Stefano |translator-last2=Bell |translator-first2=Elizabeth|ref=none}}
* {{cite book |title=Fellini |last=Merlino |first=Benito |date=2007 |publisher=Gallimard |isbn=978-2-07-033508-4 |location=Paris|ref=none}}
* {{cite book |title=Political Fellini: Journey to the End of Italy |last=Minuz |first=Andrea |date=2015 |publisher=Berghahn Books |isbn=978-1-78238-819-7 |edition=English-language |location=New York |translator-last=Perryman |translator-first=Marcus|ref=none}}
* {{cite book |title=Fellini: Costumes and Fashion |last1=Panicelli |first1=Ida |last2=Mafai |first2=Giulia |last3=Delli Colli |first3=Laura |last4=Mazza |first4=Samuele |date=1996 |publisher=Charta |isbn=978-88-86158-82-4 |edition=1st English |location=Milan|ref=none}}
* {{cite book |last=Pettigrew |first=Damian |title=I'm a born liar: a fellini lexicon |date=2003 |publisher=Harry N. Abrams |isbn=0-8109-4617-3 |location=New York|ref=none}}
* {{cite book |title=Fellini Lexicon |last=Rohdie |first=Sam |date=2002 |publisher=BFI |isbn=978-0-85170-934-5 |location=London|ref=none}}
* {{cite book |title=L'Italia di Fellini |last=Scolari |first=Giovanni |date=2008 |publisher=Sabinae |isbn=978-88-96105-01-6 |edition=1st|location=Rome|ref=none}}
* {{cite book |title=Federico Fellini |last=Tornabuoni |first=Lietta |date=1995 |publisher=Rizzoli |isbn=978-0-8478-1878-5 |location=New York|ref=none}}
* {{cite book |title=Milking the Moon: A Southerner's Story of Life on This Planet |last=Walter |first=Eugene |date=2001 |publisher=Crown Publishers |isbn=978-0-609-60594-3 |edition=1st |location=New York |url-access=registration |url=https://archive.org/details/milkingmoonsouth00walt|ref=none}}
{{div col end}}

==External links==
{{Commons category}}
{{Wikiquote}}
* [http://www.federicofellini.info Fellini Official site] (in English)<!-- by Francesca F. Fellini, niece of Maestro -->
* [http://www.federicofellini.it/ Fellini Foundation] Official Rimini web site (in Italian)
* [http://www.fondation-fellini.ch/ Fondation Fellini pour le cinéma] Swiss web site (in French)
* {{IMDb name|0000019}}
* {{TCMDb name}}
* [https://www.lambiek.net/artists/f/fellini_federico.htm Federico Fellini biography] on Lambiek Comiclopedia
* [https://www.fellini2020.com/ Site commemorating Fellini's 100th birthday]
{{Federico Fellini}}
{{Navboxes
| title = Awards for Federico Fellini
| list =
{{Academy Award Best Foreign Language Film}}
{{Academy Honorary Award}}
{{BAFTA Award for Best Production Design}}
{{BAFTA Academy Fellowship Award}}
{{David di Donatello Best Director}}
{{European Film Academy Lifetime Achievement Award}}
{{Golden Lion for Lifetime Achievement}}
{{Lincoln Center Gala Tribute}}
{{Nastro d'Argento Best Director}}
{{New York Film Critics Circle Award for Best Director}}
}}
{{Italian film genres}}

{{Authority control}}

{{DEFAULTSORT:Fellini, Federico}}
[[Category:Federico Fellini| ]]
[[Category:1920 births]]
[[Category:1993 deaths]]
[[Category:20th-century Italian male actors]]
[[Category:20th-century Italian male writers]]
[[Category:20th-century Italian screenwriters]]
[[Category:Academy Honorary Award recipients]]
[[Category:Alternative cartoonists]]
[[Category:Analysands of Ernst Bernhard]]
[[Category:BAFTA fellows]]
[[Category:Best Production Design BAFTA Award winners]]
[[Category:David di Donatello winners]]
[[Category:Directors of Best Foreign Language Film Academy Award winners]]
[[Category:Directors of Palme d'Or winners]]
[[Category:English-language film directors]]
[[Category:European Film Awards winners (people)]]
[[Category:German-language film directors]]
[[Category:Italian anti-communists]]
[[Category:Italian comics writers]]
[[Category:Italian comics artists]]
[[Category:Italian experimental filmmakers]]
[[Category:Italian film directors]]
[[Category:Italian film producers]]
[[Category:Italian-language film directors]]
[[Category:Italian male film actors]]
[[Category:Italian male screenwriters]]
[[Category:Italian male television actors]]
[[Category:Italian Roman Catholics]]
[[Category:Italian comedy film directors]]
[[Category:Italian fantasy film directors]]
[[Category:Italian satirists]]
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[[Category:Italian surrealist artists]]
[[Category:Italian television directors]]
[[Category:Magic realism writers]]
[[Category:Nastro d'Argento winners]]
[[Category:People from Rimini]]
[[Category:Recipients of the Praemium Imperiale]]
[[Category:Surrealist filmmakers]]
[[Category:Surrealist writers]]
[[Category:Television commercial directors]]
[[Category:Underground cartoonists]]
[[Category:Fellini family|Federico]]
[[Category:Golden Lion for Lifetime Achievement recipients]]
[[Category:Burials at the Monumental Cemetery of Rimini]]
[[Category:Italian neorealism]]