Richard Dyer talks about his research project at the International Research Institute for Cultural Technologies and Media Philosophy (IKKM) Weimar. Period of fellowship: February 2009 – July 2009. Also see Richard Dyer's IKKM-Site.
“What is a movie, in the beginning? A suspicion, a hypothetic[al] story, a shadow of ideas, blurred feelings. And, still, [from that] first impalpable contact, it already seems to be itself, complete, vital, pure.” (Federico Fellini, Fazer um filme (“Making a Movie”). Rio de Janeiro: Editora Civilização Brasileira, 2000., 204 and 205, translated by Marcelo Moreira Santos and cited by him in 'Cinema and Pragmatism: a Reflection on the Signic Genesis in Cinematographic Art', Signs, Vol. 3, 2009: pp. 30-40)
“The movie tells its worlds, its stories, its characters, through images. Its expression is figurative, like [that] of dreams. (...) The movie tries to reproduce a world, an environment, in a vital manner. It tries to remain in this dimension, trying to recreate the emotion, the enchantment, the surprise.” (Fellini, cited in op. cit. 139 and 154)Inspired by the video, above, of the sublime Richard Dyer talking about "The Wind in Fellini" in simply one of the best Film Studies lectures currently available on the internet, Film Studies For Free today brings you some choice links to openly accessible, and high quality, studies of and further viewing on the work of director Federico Fellini, and of his collaborators, like Nino Rota (the subject of a wonderful new book by Dyer).
Just so you know, FSFF is off on a trip shortly and will be back, joyously labouring away to track down such wondrous links as these below, in just over a week. See ye efter!
- Lior Barshack, 'Intimate Enunciations: Carnival and Apocalypse in Fellini', Cardozo Law Review, 31.4, 2010
- Peter Bondanella, 'Federico Fellini: A Life in Cinema' - excerpt, The Films of Federico Fellini (Cambridge: Cambridge University Press, 2002)
- Robert Castle, 'Orchestra Rehearsal Reconsidered: In which "Fellini takes us beyond our frailties and chaos', Bright Lights, Issue 40, May 2003
- Richard Dyer, 'The Ending of 8 ½ (1963)', in James Walters and Tom Brown (eds), Film Moments: Criticism, History, Theory (2010)
- Richard Dyer, 'Tales of Plagiarism And Pastiche', Nino Rota: Music, Film and Feeling (London: Palgrave/BFI, 2010) (27 free pages) Book info.
- Manuela Gieri, 'Character and Discourse from Pirandello to Fellini: Defining a Countertradition in an Italian Context', QUADERNI d'italianistica Volume XHl. No. 1, 1992
- David Hannah (with Richard Dyer), 'Film composer Nino Rota's collaborations' (Viewing: 3:24), BBC website, August 31, 2010
- David Lavery, 'News From Africa: Fellini-Grotesque', originally published in Post Script 9.1 and 2 (1990): 82-98
- Todd McGowan, 'Fantasy and Showing Too Much', The Real Gaze: Film Theory After Lacan (Albany: State University of New York, 2007)
- Marcelo Moreira Santos and cited him in 'Cinema and Pragmatism: a Reflection on the Signic Genesis in Cinematographic Art', Signs, Vol. 3, 2009: pp. 30-40
- Catherine O'Rawe, '‘"I padri e i maestri": Genre, Auteurs and Absences in Italian Cinema', Italian Studies, 63.2, 2008
- Megan Ratner, 'Knocking on Modernity's Door: Fellini's I Vitelloni." Bright Lights Film Journal, vol. 41, August 2003
- Dana Renga, 'Irony and the Aesthetics of Nostalgia: Fellini, Zanzotto and Casanova's Redemption', QUADERNI d'italianistica, Volume XX, No. 1-2, 1999
- Ajay Sekher, 'Ways of Seeing the Self, Subjectivity and History: Filmic Autobiographies, Biopics and Historicals', Academia.edu, date unknown
- Alexander Sesonske, '8¹⁄2: A Film with Itself as its Subject', The Criterion Collection: Notes, December 3, 2001
- Marguerite Waller, 'Whose Dolce Vita is this anyhow? The Language of Feliini's Cinema', QUADERNI d'italianistica, Volume XI, No. 1, 1990