Federico Fellini: Painting in Film, Painting on Film

By Hava Aldouby

© 2013

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.

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  • World Rights
  • Page Count: 208 pages
  • Illustrations: 32
  • Dimensions: 6.1in x 0.5in x 9.0in
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Quick Overview

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

By Hava Aldouby

© 2013

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.

Continue Reading Read Less

Product Details

  • World Rights
  • Page Count: 208 pages
  • Illustrations: 32
  • Dimensions: 6.1in x 0.5in x 9.0in
  • Reviews

    ‘This is a well-researched, fresh, and thought-provoking book that provides new perspectives on some of Fellini’s most fascinating movies.’


    Christopher B. White
    Italica vol 92:01:2015

    ‘A compelling and original contribution to Fellini scholarship by demonstrating the director’s astonishingly sophisticated knowledge of art history, as well as masterful manipulation of the historical and cultural hyperlinks that these works invoke.’


    M. Thomas Van Order
    Modern Language Review vol 111:03:2016

    ‘This impressively researched book is a welcome and important contribution to film scholarship… Aldouby’s assiduous and intricate analysis of intertextual meanings in Fellini’s films enriches our sense of the film maker.’


    Faye McIntyre
    University of Toronto Quarterly vol 84:03:2015

    ‘With this superb book the author has offered us a paragon of inter-arts study one which provides not only a new understanding of Fellini’s creative process, but also furnishes a compelling approach to the work of other auteurs who may have devised their own unique forms of ‘painting on film’.’


    Millicent Marcus
    Journal of Italian Cinema & Media Studies vol 3:03:2015

    ‘This book is by far the most serious and successful attempt to date to document and interpret pictorial intertexts in Fellini’s work.’


    Albert Sbragia
    Quaderni d’Italianistica vol 36:01:2015

    ‘Aldouby’s work contributes to the revitalization of the classical field of inquiry about cinema and painting, addressing both scholars in the broad domain of visual studies and cinephiles looking for fresh gaze on Fellini’s oeuvre.’


    Giacomo Tagliani
    Annali d’Italianistica vol 32:2014

    ‘Superb work…. Hava Aldouby has offered us a paragon on inter-arts study, one which provides a new understanding of Fellini’s creative process.’


    Millicent Marcus
    Journal of Italian Cinema and Media Studies – vol 3:03:2015

    “Beautifully, elegantly, and clearly written, Hava Aldouby’s Federico Fellini: Painting in Film, Painting on Film is an outstanding and wonderfully original work. The range and depth of the artistic knowledge Fellini had and that Aldouby chronicles completely debunks the public image Fellini himself created—that of a simple artisan and storyteller lacking in any profound intellectual qualifications. Aldouby’s explications of the intricate connections between Fellini’s intentions, his sources, and his ultimate artistic creations will change forever the way we see this multifaceted cinematic genius.”


    Peter Bondanella, Distinguished Professor Emeritus, Department of French and Italian, Indiana University

    “With Federico Fellini: Painting in Film, Painting on Film, Hava Aldouby has undertaken the daunting challenge of adding a new chapter to the voluminous scholarship on Fellini and succeeded admirably. Highly original, compelling, and important, it will make a striking contribution to Fellini studies and to the work on transmediality.”


    Millicent Marcus, Department of Italian, Yale University
  • Author Information

    Hava Aldouby is a senior lecturer at the Open University of Israel, Department of Literature, Language, and the Arts, and artistic director of the Open University Gallery.
  • Table of contents

    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

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