Inspiring Fellini

Inspiring Fellini: Literary Collaborations Behind the Scenes

FEDERICO PACCHIONI
Copyright Date: 2014
Pages: 256
https://www.jstor.org/stable/10.3138/j.ctt5vkj86
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  • Book Info
    Inspiring Fellini
    Book Description:

    Pacchioni explores the dynamics of Fellini's cinematic collaborations through analyses of the writers' independently produced works, their contributions to the conceptualization of the films, and their conversations with Fellini himself, found in public and private archival sources.

    eISBN: 978-1-4426-1672-1
    Subjects: Film Studies, Language & Literature

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgments
    (pp. ix-x)
  4. List of Illustrations
    (pp. xi-2)
  5. Introduction
    (pp. 3-20)

    As foreshadowed nearly a decade ago by Millicent Marcus’s volumeAfter Fellini: National Cinema in the Postmodern Age, study of Federico Fellini (1920–93), who had become the very symbol of the golden age of Italian cinema, was increasingly moved to the margin of scholarship in order to make space for an emphasis on contemporary and popular cinema. In the wake of a forceful shift away from auteurism, even Peter Bondanella, the author of one of the most successful auteurist monographs on Fellini, has attempted to curb the prominence of the great auteur’s weight in a new edition of his...

  6. Chapter One Tullio Pinelli
    (pp. 21-48)

    It has been suggested that the friendship between Federico Fellini and Tullio Pinelli moved along tracks that ran so deep and were so hidden that they often remained unknown to the artists themselves.¹ In the 1930s and post-war years Pinelli enjoyed fame among literary circles, whereas Fellini won the praise of readers of the Roman satirical magazineMarc’ Aurelio. Pinelli, twelve years Fellini’s senior, had a more classical and literary education, while Fellini’s background favoured popular culture, especially comics, radio, and music-hall variety shows. Despite their differences they discovered that they had common artistic interests and sensibilities, even from their...

  7. Chapter Two Ennio Flaiano
    (pp. 49-78)

    Fellini’s first recollections of Ennio Flaiano date back to 1939, when their paths crossed as Fellini began his work with the popular magazineMarc’ Aurelioand Flaiano was working for the literary periodicalOmnibus. WhileMarc’ Aureliowas a publication containing a variety of comic sketches and light pieces about Rome’s celebrities,Omnibuswas a politically dissident journal and showcased essays on the arts and history. A group of young and unbridled artists – Stefano Vanzina (alias “Steno,” 1919–88), Cesare Zavattini, Ettore Scola (1931– ), and Gioacchino Colizzi (alias “Attalo,” 1894–1986) – formed aroundMarc’ Aurelio. Flaiano’s circle was instead...

  8. Chapter Three Bernardino Zapponi
    (pp. 79-95)

    When Fellini’s initial team of screenwriters dissolved in 1965, his career creatively stalled for about three years until 1968 when he began an intensive collaboration that lasted more than ten years with the eclectic and lesser-known writer Bernardino Zapponi. Fellini’s new screenwriting partnership coincided with an artistic rebirth and redirection of his cinema. Critics did not recognize Bernardino Zapponi’s writing, unlike Pinelli’s and Flaiano’s work, a fact that Fellini most likely appreciated after his intense artistic and authorial negotiations with Pinelli and Flaiano. In a number of caricatures Fellini expressed in a satirical manner his fondness for Zapponi’s low profile...

  9. Chapter Four The Poets
    (pp. 96-160)

    Italy’s transition from a rural society to a primarily industrial one in the 1950s, and the growing importation of cultural models and values from North America, dramatically transformed the country and its people. The weight of this phenomenon cannot be understated, and historians have described it as nothing less than “the end of the seven or eight millennia of human history that began with the invention of agriculture in the stone age,” the end of “the long era when the overwhelming majority of the human race lived by growing food and herding animals.”¹ Fellini’s generation traversed this period of change...

  10. Conclusion
    (pp. 161-164)

    In his correspondence with Tullio Kezich, Ennio Flaiano once confessed, with his usual sarcasm, to “admire Fellini’s capacity to select his nourishment, and his capacity to steal it whenever necessary wherever he finds it ... as a way to give order to chaos.”¹ The most precious aspect of a director’s talent might very well be his flair for choosing the right collaborators at the right time, and Fellini was certainly not lacking in this vital skill, which was coupled with a remarkable openness to ideas and suggestions. It is indeed astounding to consider the voracity and effectiveness with which Fellini’s...

  11. Notes
    (pp. 165-202)
  12. Bibliography
    (pp. 203-220)
  13. Index
    (pp. 221-237)