Federico Fellini

Hava Aldouby is a senior lecturer at the Open University of Israel, Department of Literature, Language, and the Arts, and artistic director of the Open University Gallery.

‘This is a well-researched, fresh, and thought-provoking book that provides new perspectives on some of Fellini’s most fascinating movies.’- Christopher B. White (Italica vol 92:01:2015) ‘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.’- M. Thomas Van Order (Modern Language Review vol 111:03:2016) ‘This impressively researched book is a welcome and important contribution to film scholarship… Aldouby’s assiduous and intricate analysis of intertextual meanings in Fellini’s films enriches our sense of the film maker.’- Faye McIntyre (University of Toronto Quarterly vol 84:03:2015) ‘With this superb book the author has offered us a paragon of inter-arts study one which provides not only a new understanding of Fellini’s creative process, but also furnishes a compelling approach to the work of other auteurs who may have devised their own unique forms of ‘painting on film’.’- Millicent Marcus (Journal of Italian Cinema & Media Studies vol 3:03:2015) ‘This book is by far the most serious and successful attempt to date to document and interpret pictorial intertexts in Fellini’s work.’- Albert Sbragia (Quaderni d’Italianistica vol 36:01:2015) ‘Aldouby’s work contributes to the revitalization of the classical field of inquiry about cinema and painting, addressing both scholars in the broad domain of visual studies and cinephiles looking for fresh gaze on Fellini’s oeuvre.’- Giacomo Tagliani (Annali d’Italianistica vol 32:2014) ‘Superb work…. Hava Aldouby has offered us a paragon on inter-arts study, one which provides a new understanding of Fellini’s creative process.’ - Millicent Marcus (Journal of Italian Cinema and Media Studies – vol 3:03:2015)

• AcknowledgemensPrefaceChapter 1 - Fellini, Painting On FilmChapter 2 - Giulietta degli spiriti: Symbolist virgins meet Decadent femmes-fatales in Art Nouveau interiors Symbolist strands embedded in Giulietta's childhood scenesSuzy's domain: Symbolist femmes fatales roaming art nouveau interiorsThe Master's Bedroom and the Jungian ShadowChapter 3 - Toby Dammit: Rembrandt meets VelÁzquez on Screen The hanging carcass - Rembrandt to Fellini via Soutine and BaconThe bambina diavolo, or "VelÁzquez on film"Fellini, Picasso, and Las Meninas after VelÁzquezSevered head and white ball: Fellini's Jungian universe The severed head: Symbolist intertextsToby Dammit: the creative artist as mystical initiateChapter 4 - Fellini-Satyricon: Bruegel meets Klimt in the sewers of imperial Rome Fellini's (re)presentation of RomanitÀFellini’s "Byzantium" Picasso’s Minotaur meets Encolpio in Fabrizio Clerici's labyrinthsChapter 5 - Fellini’s Casanova: Casanova meets De Chirico on BÖcklin's Isle of the Dead Casanova, Fellini's version of the GolemThrough the half-drawn curtain: Casanova, De Chirico and The Enigma of the OracleThe Isoletta di San Bartolo, or Isle of the DeadA bridge over the Thames: Fellini's Casanova meets Whistler’s NocturnesConclusion - "A new hypothesis of the truth": Painting as vehicle of the Real in Fellini's films, 1960s-70sList of IllustrationsBibliography