Federico Fellini: Painting in Film, Painting on Film by Hava AldoubyFederico Fellini: Painting in Film, Painting on Film by Hava Aldouby

Federico Fellini: Painting in Film, Painting on Film

byHava Aldouby

Paperback | November 5, 2013

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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.

Hava Aldouby lectures in the School of the Arts in the Faculty of Humanities at the Hebrew University of Jerusalem.
Federico Fellini: Painting in Film, Painting on Film
Federico Fellini: Painting in Film, Painting on Film

by Hava Aldouby

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Title:Federico Fellini: Painting in Film, Painting on FilmFormat:PaperbackDimensions:208 pages, 9 × 6.05 × 0.5 inPublished:November 5, 2013Publisher:University of Toronto Press, Scholarly Publishing DivisionLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1442613270

ISBN - 13:9781442613270

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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

Editorial Reviews

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."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