He also repeatedly watched European cinema, such as films by Federico Fellini, Ingmar Bergman, Michelangelo Antonioni, and Jean-Pierre Melville.

In Europe, Art Cinema gains wider distribution and sees movements like la Nouvelle Vague ( The French New Wave ) featuring French filmmakers such as Roger Vadim, François Truffaut, Alain Resnais, and Jean-Luc Godard ; Cinéma Vérité documentary movement in Canada, France and the United States ; Swedish filmmaker Ingmar Bergman, Chilean filmmaker Alexandro Jodorowsky and Polish filmmakers Roman Polanski and Wojciech Jerzy Has produced original and offbeat masterpieces and the high-point of Italian filmmaking with Michelangelo Antonioni and Federico Fellini making some of their most known films during this period.

An art city with ancient Roman and Renaissance monuments, Rimini is the hometown of the famous film director Federico Fellini as well.

Unlike Fellini ’ s film discussed below, the caricature of the Satyricon does not deform the everyday life of the Roman people.

It is an Our Town or Under Milk Wood of the Adriatic seaboard, concocted and displayed in the Roman film studios with the latter-day Fellini ’ s distaste for real stone and wind and sky.

Classic erotica from the Ancient World includes the Song of Songs from the Old Testament and the Roman Satyricon of Petronius Arbiter ( later made into a film by Fellini ).

With the exception of hippies and a conversational scene with Fellini bemoaning the loss of Roman life with radical students, the analogous congregations of the 1970s are between automobiles and motorcycles.

He went on to work with a number of acclaimed and diverse directors including, Sergio Leone ( The Good, the Bad and the Ugly, Once Upon a Time in the West and Once Upon a Time in America ), Roman Polanski ( Death and the Maiden and Bitter Moon ), Louis Malle ( Lacombe, Lucien ), Jean-Jacques Annaud ( The Name of the Rose ), and Federico Fellini, whose last three films he photographed.

Described as “ the determining moment in Fellini ’ s life ”, he enjoyed steady employment between 1939 and 1942, interacting with writers, gagmen, and scriptwriters that eventually led to opportunities in show business and cinema.

La Dolce Vita (; Italian for " the sweet life " or " the good life ") is a 1960 comedy-drama film written and directed by the critically acclaimed director Federico Fellini.

Salon. com's Andrew O ' Hehir wrote a detailed positive review that begins with him bemoaning the end of European art cinema due to " its heroes either being dead ( Fellini and Truffaut ), retired ( Bergman ), or drifting more or less rapidly into quirky irrelevance ( Godard and Wenders )", before sounding a slightly more optimistic note that " Kusturica is still making ambitious individual films as if they mattered " followed by a happy one that " it's thrilling to see something this profane, mythic and, most of all, not bored with life, love and the possibilities of cinema in an era when art houses are filled with tepidly tasteful, multinational crapola like The Red Violin ".

Fellini makes a comparison between the parade of prostitutes at wartime brothels and a fantasy runway fashion show featuring clerical garb and a papal audience.

In Mussolini ’ s Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males.

In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto ( Knights of the Desert, 1942 ), directed by Osvaldo Valenti and Gino Talamo.

Amarcord is a 1973 Italian comedy-drama film directed by Federico Fellini, a semi-autobiographical coming-of-age tale about Titta, an adolescent boy growing up among an eccentric cast of characters in the village of Borgo San Giuliano ( situated near the ancient walls of Rimini ) in 1930s Fascist Italy.

Italy has produced many important cinematography auteurs, including Federico Fellini, Michelangelo Antonioni, Roberto Rossellini, Vittorio De Sica, Ettore Scola, Sergio Leone, Dario Argento, Pier Paolo Pasolini, Bernardo Bertolucci, Franco Zeffirelli, Mario Bava, Sergio Corbucci, Lucio Fulci, Mario Monicelli, Marco Ferreri, Elio Petri, Ermanno Olmi, Umberto Lenzi, Lina Wertmüller, and Luchino Visconti.

Most tourists who arrive by air land at Rimini's Federico Fellini Airport, Italy, and then make the transfer by bus.

* The IATA code of Federico Fellini International Airport, serving Rimini in Italy

She visited Italy with the intention of meeting Fellini and requesting his permission in person.

* French Syndicate of Cinema Critics: Critics Award, Best Foreign Film, Federico Fellini ; Italy ; 1975.

The Blackboard received many international awards including the “ Federico Fellini Honor Award ” from UNESCO and “ Francois Truffaut Award ” from Italy.

Air Vallée S. p. A. is an airline based on the grounds of Federico Fellini Airport in Rimini, Italy.

He then won a scholarship allowing him to study film in Italy at the Centro Sperimentale di Cinematografia under Michelangelo Antonioni, Federico Fellini and Luchino Visconti.

Federico Fellini Airport () is an airport located at Miramare, southeast of Rimini, Italy and away from City of San Marino, Republic of San Marino.

He worked over more than 60 years with most of the well-known European actresses and actors of classic cinema and with some famous names of the Cinema of Italy like Roberto Rossellini, Carlo Ponti, Federico Fellini, Mario Bava, Sergio Corbucci, Michelangelo Antonioni.

In 1937, Fellini opened Febo, a portrait shop in Rimini with the painter Demos Bonini.

Not yet twenty and with Fabrizi ’ s help, Fellini obtained his first screen credit as a comedy writer on Mario Mattoli ’ s Il pirata sono io ( The Pirate's Dream ).

He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear ( later Rome, Open City ), met Fellini in his shop proposing he contribute gags and dialogue for the script.

Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director ’ s Senza pietà ( Without Pity ) and Il mulino del Po ( The Mill on the Po ).

Fellini also worked with Rossellini on the anthology film L ' Amore ( 1948 ), co-writing the screenplay and in one segment titled, " The Miracle ", acting opposite Anna Magnani.

In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights ( Luci del varietà ), his first feature film.

The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.

After travelling to Paris for a script conference with Rossellini on Europa ' 51, Fellini began production on The White Sheik in September 1951, his first solo-directed feature.

Fellini directed La strada based on a script completed in 1952 with Pinelli and Flaiano.

The scandal provoked by Turkish dancer Haish Nana ’ s improvised striptease at a nightclub captured Fellini ’ s imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night “ orgy ” at a seaside villa.

Changing the title of the screenplay to La Dolce Vita, Fellini soon clashed with his producer on casting: the director insisted on the relatively unknown Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment.

Condemned as a “ public sinner ” for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio ' 70.

Infused with the surrealistic satire that characterized the young Fellini ’ s work at Marc ’ Aurelio, the film ridiculed a crusader against vice who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome.

In Hollywood for the ceremony, Fellini toured Disneyland with Walt Disney the day after.

In 1964, Fellini experimented with LSD 25 under the supervision of Emilio Servadio, his psychoanalyst during production of La strada.

After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun.

When Castaneda inexplicably disappeared and the project fell through, Fellini ’ s mystico-shamanic adventures were scripted with Pinelli and serialized in Corriere della Sera in May 1986.

For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafka ’ s Amerika.

Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.

In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish " the longest and most detailed conversations ever recorded on film ".

( 1998 ), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by 8½.

Fellini ’ s work is referenced on the albums Fellini Days ( 2001 ) by Fish and Funplex ( 2008 ) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R. E. M.