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References

Notes

  1. ^ "8½". BFI Film & Television Database. London: British Film Institute. Retrieved 27 December 2012. 
  2. ^ "Top Rental Films of 1963", Variety, 8 January 1964 p 37
  3. ^ Almar Haflidason Updated 17 April 2001 (17 April 2001). "BBC – Review of Fellini's ''8½''". Bbc.co.uk. Retrieved 4 April 2012. 
  4. ^ Alberto Arbasino (1963), review of 8½ in Il Giorno, 6 March 1963: "The film is a step forward in the history of novelistic form. The block structure of La Dolce Vita already paved the way in both cinema and littérature. Otto et mezzo, however, not only outdistances by many years almost all films currently made but impacts our narrative at the most sensitive moment of the friction between convention and avant-garde, and may well provide a boost in the direction of the experimental, i.e. the future, as regards, among other things, the problems of being, of writing, and the relationship with reality."
  5. ^ Film scholar Charles Affron writes that "the status of as a 'classic' text can be recognized in the homage of its imitations and versions." Cf. Affron, 5. Fellini scholar Peter Bondanella concurs: "As might be expected from the work's important place in the history of the cinema, the criticism on is voluminous." Cf. Bondanella, The Cinema of Federico Fellini, 163
  6. ^ a b "Directors' Top Ten Poll". British Film Institute. Archived from the original on 18 March 2007. Retrieved 26 March 2007. 
  7. ^ "Vatican Best Films List". USCCB. Archived from the original on 23 July 2010. Retrieved 25 July 2010. 
  8. ^ Eugene Walter, "Dinner with Fellini", The Transatlantic Review, Autumn 1964. Quoted in Affron, 267
  9. ^ , Criterion Collection DVD, featured commentary track.
  10. ^ "The suicide theme is so overwhelming," Pinelli told Fellini, "that you'll crush your film." Cited in Fellini: I'm a Born Liar (2002), directed by Damian Pettigrew.
  11. ^ Alpert, 174-175, and Kezich, 245. The documentary L'Ultima sequenza (2003) also discusses the lost sequence.
  12. ^ Kezich, 245
  13. ^ Moravia's review first published in L'Espresso (Rome) on 17 February 1963. Quoted in Fava and Vigano, 115-116
  14. ^ Grazzini's review first published in Corriere della Sera (Milan) on 16 February 1963. Quoted in Fava and Vigano, 116
  15. ^ This translation of Grazzini's review quoted in Affron, 255
  16. ^ Affron, 255
  17. ^ a b c Alpert, 180
  18. ^ Truffaut's review first published in Lui (Paris), 1 July 1963. Affron, 257
  19. ^ First published in Premier Plan (Paris), 30 November 1963. Affron, 257
  20. ^ First published in Les Cahiers du Cinéma (Paris), July 1963. Fava and Vigano, 116
  21. ^ a b c Kezich, 247
  22. ^ John Simon considered the film's originality was compromised "because the 'dance of life' at the end was suggested by Bergman's dance of death in The Seventh Seal (which Fellini had not seen)". Quoted in Alpert, 181
  23. ^ First published in the NYT, 26 June 1963. Fava and Vigano, 118
  24. ^ First published in The New York Post, 26 June 1963. Fava and Vigano, 118.
  25. ^ a b Alpert, 181
  26. ^ Bondanella, The Films of Federico Fellini, 93.
  27. ^ Ebert,"Fellini's ", Chicago Sun-Times (7 May 1993). Retrieved on 21 December 2008.
  28. ^ "The 2012 Sight & Sound Directors' Top Ten." British Film Institute. 2 August 2012. http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten. Accessed 8 Aug 2012.
  29. ^ "The Top 50 Greatest Films of All Time." British Film Institute. 1 Aug 2012. http://www.bfi.org.uk/news/50-greatest-films-all-time/ Accessed 8 Aug 2012.
  30. ^ "Scorsese’s 12 favorite films". Miramax.com. Retrieved 25 December 2013. 
  31. ^ "Screening the Past". Archived from the original on 15 September 2007. Retrieved 9 September 2007. 
  32. ^ Bondanella, The Cinema of Federico Fellini, 175
  33. ^ Quoted in Kezich, 234
  34. ^ Gabriele Pedullà, Alberto Arbasino [2000] "Interviste – Sull'albero di ciliegie" ("On the Cherry Tree") in CONTEMPORANEA Rivista di studi sulla letteratura e sulla comunicazione, Volume 1, 2003. Q: In some of your texts written during the 60s – I’m thinking above all of Certi romanzi – critical reflections on questions of the novel [...] are always interlaced in both an implicit and explicit way with reflections on cinema. In particular, it seems to me that your affinity with Fellini is especially significant: for example, your review of Otto e mezzo in Il Giorno. A: Reading Musil, we discovered parallels and similar procedures. But without being able to establish, either then or today, how much there was of Flaiano and how much, on the other hand, was of [Fellini’s] own intuition.
  35. ^ Kezich, 246
  36. ^ Kezich, 249
  37. ^ Kezich, 249-250
  38. ^ "The 100 Best Films Of World Cinema". Empire. 62. 8½ 
  39. ^ "The 36th Academy Awards (1964) Nominees and Winners". oscars.org. Retrieved 3 November 2011. 
  40. ^ "Festival de Cannes: 8½". festival-cannes.com. Retrieved 27 February 2009. 
  41. ^ Alpert, 180.
  42. ^ "3rd Moscow International Film Festival (1963)". MIFF. Retrieved 2012-11-26. 
  43. ^ Kezich, 248

Bibliography

  • Affron, Charles. 8½: Federico Fellini, Director. New Brunswick: Rutgers University Press, 1989.
  • Alpert, Hollis. Fellini: A Life. New York: Paragon House, 1988.
  • Bondanella, Peter. The Cinema of Federico Fellini. Princeton: Princeton University Press, 1992.
  • Bondanella, Peter. The Films of Federico Fellini. Cambridge: Cambridge University Press, 2002.
  • Fava, Claudio and Aldo Vigano. The Films of Federico Fellini. New York: Citadel Press, 1990.
  • Kezich, Tullio. Federico Fellini: His Life and Work. New York: Faber and Faber, 2006.

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