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Fellini was uncomfortable with the limitations imposed by neorealism, however, and once he began to direct his own films, he increasingly focused on depictions of character and his unique narrative form. He never graduated, but instead served his apprenticeship in film as a writer of neorealistic scripts-of Fellini’s 23 Oscar nominations, eight were for his work as a writer of neorealistic scripts. As gleaned from the chapter titles, Bondanella takes the reader from Fellini’s “Origins” to his “Cinema of Poetry.”īondanella, a Distinguished Professor of Italian and Comparative Literature at Indiana University in Bloomington, IN and the author of several books on Fellini, introduces his study by noting, “In the evolution of his cinema, Fellini’s past experiences are never discarded or rejected.” In keeping with this statement, Bondanella finds the source of Fellini’s cinematic career in his early work as a visual artist, drawing cartoons and caricatures, and writing “gags” for “Fascist Italy’s most important humor magazine, Marc’ Aurelio.”īorn in Rimini in 1920, Fellini left “the provinces” when he moved to attend law school at the University of Rome in 1938.
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He covers Fellini’s experiences as a scriptwriter and director extraordinaire of realistic, mythical, and dreamlike films. Everything you ever wanted to know about Federico Fellini’s film history is in Peter Bondanella’s exhaustive and scholarly treatment of the director’s early influences.