Federico Fellini research paper due and don’t know how to start it? How about like this?
Federico Fellini (1920-1993) will be remembered for his vast contributions to cinematic culture, not only in Italy but also in the world. Of his entire film career, Fellini said just before he died, “She’s a beautiful girl” clearly indicating that he was proud of his cinematic achievements. Fellini’s films explored levels of psychosexual and hedonistic depths, as well as the wells of emptiness that are our lives, that few directors had attempted to depict with such vivid imagery. Critics almost universally acclaim him as one of the best film directors of all time, even above his Italian contemporaries, Roberto Rossellini and Vittorio De Sica. Fellini’s films went far beyond visual and narrative entertainment for audiences who have, for over half a century, found new meaning and new identity in his films.
Fellini’s rise to fame was rapid. By 1953 his masterpiece I Vitelloni achieved international exposure. In 1956 The Nights of Cabiria earned Fellini his first Academy Award. By 1963 La Dolce Vita, perhaps his best-known film, won both an American Oscar and the Grand Prize at the Moscow Film Festival (Sanford). Altogether he was awarded five Oscars throughout his career. Making films was his passion and in an interview he remarked, “Making films is my way of life: when I’m not shooting a film, I’m preparing one” . He considered himself a true artist, an auteur. His films were distinctly his. He was not just as the director but also the creator.
Many have said his films were primarily autobiographical. Sanford writes, “His films brought a new level of autobiographical intensity to the cinema, and more than any other filmmaker of the age, he transformed the realities of his life into the surrealism of his art.” Fellini believed this might have been so because he conceived of his films, wrote screenplays and directed them. Unlike many directors to whom a film idea is presented, Fellini developed his own films. Thus, he said he reflected myself in his films. On the other hand, Fellini wrote quite the opposite later in life, “It is impertinent to call my films autobiographical. I have invented my own life”. That may be what he would wish his audiences to do: to invent or reinvent their own lives, with or without his films. The important thing is to live the life you want to life and how you want to live it. This is his liberation.