Thomas Van Order, Modern Language Review vol 111:03:2016 ‘A compelling and original contribution to Fellini scholarship by demonstrating the director’s astonishingly sophisticated knowledge of art history, as well as masterful manipulation of the historical and cultural hyperlinks that these works invoke.’ ‘This is a well-researched, fresh, and thought-provoking book that provides new perspectives on some of Fellini’s most fascinating movies.’Ĭhristopher B. A bridge over the Thames: Fellini's Casanova meets Whistler’s NocturnesĬonclusion - "A new hypothesis of the truth": Painting as vehicle of the Real in Fellini's films, 1960s-70s.The Isoletta di San Bartolo, or Isle of the Dead.Through the half-drawn curtain: Casanova, De Chirico and The Enigma of the Oracle.Casanova, Fellini's version of the Golem.Fellini’s "Byzantium" Picasso’s Minotaur meets Encolpio in Fabrizio Clerici's labyrinthsĬhapter 5 - Fellini’s Casanova: Casanova meets De Chirico on Böcklin's Isle of the Dead.Toby Dammit: the creative artist as mystical initiateĬhapter 4 - Fellini-Satyricon: Bruegel meets Klimt in the sewers of imperial Rome.Severed head and white ball: Fellini's Jungian universe The severed head: Symbolist intertexts.Fellini, Picasso, and Las Meninas after Velázquez.The bambina diavolo, or "Velázquez on film".
Symbolist strands embedded in Giulietta's childhood scene s.Chapter 2 - Giulietta degli spiriti: Symbolist virgins meet Decadent femmes-fatales in Art Nouveau interiors