Federico Fellini Summary

Fellini, Federico (1920-1993) Italian film director Federico Fellini helped bring the cinema to a mature state of expressive quality, introducing an eye-opening kaleidoscope of psychological symbolism... Read more

The Italian film director Federico Fellini (1920-1993) began as an exponent of poetic neorealism and later became the cinema's undisputed master of psychological expressionism and surrealist fantasy.F... Read more

Murray is an American film critic, drama critic, and educator. In the following chapter from the enlarged edition of his critical study Fellini: The Artist, originally published in 1976, he discusses ... Read more

A Roman Catholic priest, Blake is also an American film reviewer, editor, critic, and educator. In the following essay, he argues that Fellini's Catholic heritage was an important source of art... Read more

Dillard is an American educator, poet, novelist, and film critic. In the following essay, he emphasizes Fellini's lasting influence on a generation of filmmakers and comments on the importance ... Read more

In the following essay, Burke discusses how Fellini's major works reflect key issues in literary and film theory, namely the notions of authorship and identity. The career of Federico Fellini o... Read more

Kauffmann is an American dramatist, editor, and theater and film critic. In the following review of Intervista, he applauds Fellini's nostalgic and poignant examination of his life as a movie m... Read more

Critical Essay by Anne Paolucci Fellini's imagination is inexhaustible. He rarely uses scripts, but follows his own inspiration from moment to moment to decide what sequence to adopt, working o... Read more

Critical Essay by Roger Ortmayer In another age Fellini would have been a Botticelli or a Bosch rather than a Leonardo. His vision is comic and surreal rather than realist. (p. 71) Fellini is a thorou... Read more

Critical Essay by Peter Harcourt In essence, the whole of Fellini can be found in [the first] sequence from La Strada [which ends with Gelsomina following the circus band after leaving Zampano]. His t... Read more

Critical Essay by Foster Hirsch Amarcord may be the director's warmest, most subdued film (who goes to Fellini for warmth and good nature?), but it is also his safest. I miss the grand flourish... Read more

Critical Essay by John Simon Time and again I have written that after 8 1/2, a deeply flawed but suggestive satire and, in a scene or two, even affecting film, Federico Fellini was a burnt-out case. T... Read more

Critical Essay by Harlan Kennedy [Can] one ever have too much of Federico Fellini's special brand of excess? The maestro, after one of his customary long silences, has come out with all cameras... Read more

Critical Essay by John Simon For the first few minutes of Orchestra Rehearsal it is as if the early, good Fellini had miraculously risen from the ashes of his self-indulgent, self-parodying, overblown... Read more