Fellini’s Otto e mezzo

Type :

Term papers

Pages :

5 pages

Format :

.doc

Published date :

11/19/2007

Category :

Arts & media

Sub category :

Film studies

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Summary :

Introduction
The film Otto e mezzo
1. The times when Guido feels most pressured
2. The film's most somber daydream sequence
3. The way Fellini presents the artistic process
4. The film's longest fantasy scene
Specific themes and images
The character of Guido
The result of the pressures placed on Fellini
A very important and overlooked aspect of Otto e mezzo
The way Fellini uses imagery and dreams
Conclusion
Works cited

Abstract

Since the dawn of cinema, there have been numerous film directors who have garnered the reputation of innovator, auteur, even genius of the medium. Only three directors, however, have created such unmistakably identifiable styles as to warrant film terminologies based on their very names. Alfred Hitchcock, with his unparalleled techniques of suspense and intrigue gave birth to the term Hitchcockian. In recent years, the phrase Spielbergian has found its way into the film-language lexicon, referring to Steven Spielberg's ability to weave stirring, emotional themes into massive-budget, blockbuster films. Perhaps the most-coined phrase taken from a filmmaker's name, however, is Felliniesque; based on the work of Italian director Federico fellini. Felliniesque applies to the way fellini masterfully blends fantasy and reality in many of his films; most notably in his revolutionary otto e mezzo (1963). Upon its release, otto e mezzo, which translates to 8 oe, garnered massive critical acclaim and won numerous prestigious awards, including the Academy Award for Best Foreign Film. Acclaim for the film has only grown over the years, and otto e mezzo has, today, become routinely known as one of the greatest films ever made. While Federico fellini's career is full of landmark films, otto e mezzo, stands out as one of his most undeniably intriguing films, as well as his first and clearest foray into the style that would later lead to the term Felliniesque. That otto e mezzo would, in part, lead to such an often-coined phrase in film terminology is ironic, as the film itself is, among other things, the single greatest movie ever made about making a movie.