Inspiring Fellini: Literary Collaborations Behind the Scenes

‘Pacchioni’s book meritoriously sheds new light both on Fellini and on (supposed) authorship in film, presenting critical portraits of strong individualities that open to possible investigation both on these very authors and on the social imagery they contributed to shape.’

Andrea Malagut, Italica vol 92:01:2015

‘Wonderfully scholarly study, whose coherent approach to Fellini’s work is one of the most rewarding I have read on the subject.’

Christopher Wagstaff, Modern Language Review vol 111:03:2016

‘The book creatively combines detailed archival research and analysis of Fellini’s dream diary… Pacchioni’s work is significant and important.’

MaoHui Deng, Journal of Italian Cinema and Media Studies – vol 3:03:2015

“Inspiring Fellini is a ground-breaking contribution to Italian film studies, to Fellini studies, and to film theory about artistic collaboration in the industry. Pacchioni’s treatment of Fellini’s scriptwriters adds an entirely new dimension to our vision of Fellini’s complicated cinematic creativity, and his brilliant use of Fellini’s dream notebooks represents a huge advance in our knowledge of the Italian director’s personality and artistic choices.” Peter Bondanella, Peter Bondanella, Department of French and Italian, Indiana University

“Focusing on the filmmaker’s intense and sometimes turbulent relationships with his collaborators, Inspiring Fellini leads us through the intricate scriptwriting process which produced such masterpieces as La strada, La dolce vita, 8 1/2, and Amarcord. Thanks to Pacchioni’s meticulous archival research, penetrating analyses, and accessible style, specialists and film-buffs alike have a great deal to gain from the discoveries and insights of this important new work.” Millicent Marcus, Department of Italian, Yale University

“Pacchioni’s solid scholarship, critical insight, and innovative methodology revisit the question of the auteur, repositioning the canon of Italian art cinema in relation to current tendencies that focus on gender, genre, and popular film.”

John P. Welle, Department of Romance Languages and Literatures, Notre Dame University