![]() The lineage from neorealism, to art house, to “Fellinian” has been amply charted by scores of film writers, but my interest in this primarily photographic essay is to chart a lesser noted lineage: a two-street of sorts between Fellini and Italian horror.Įmploying a running series of frame stills (taken from DVDs and BDs), my aim here is to reveal a surprising symbiosis between one of Italy’s most revered directors and one of cinema’s most despised (at least by a section of conservative and mainstream critics) genres, horror. In fact, his art house “hits” La Dolce Vita (1960) and 8 1/2 (flanked by his contribution to the portmanteau film Boccaccio ’70), are arguably the most iconic representatives of art cinema, along with his compatriot Michelangelo Antonioni’s trilogy L’Aventurra, L’eclisse, and La notte, Ingmar Bergman’s The Seventh Seal and Wild Strawberries, and Alain Resnais’ Hiroshima, mon amour and Last Year at Marienbad. The Italian director Federico Fellini is best known as one of the central figureheads of the post-world war 2 art cinema. ![]() ![]() By Donato Totaro Volume 16, Issue 1 / January 2012 11 minutes (2549 words) ![]()
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