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South Korea: Labor force
* indicates monthly or quarterly data series
|South Korea
Labor force, million people
|Latest value
|million people
|The World Bank
For that indicator, we provide data for South Korea from 1990 to 2022. The average value for South Korea during that period was 24.59 million people with a minimum of 19.06 million people in 1990 and a maximum of 29.2 million people in 2022. The latest value from 2022 is 29.2 million people. For comparison, the world average in 2022 based on 176 countries is 19.35 million people. See the global rankings for that indicator or use the country comparator to compare trends over time.
Select indicator
* indicates monthly or quarterly data series
Recent values
Longer historical series
Definition: Labor force comprises people ages 15 and older who supply labor for the production of goods and services during a specified period. It includes people who are currently employed and people who are unemployed but seeking work as well as first-time job-seekers. Not everyone who works is included, however. Unpaid workers, family workers, and students are often omitted, and some countries do not count members of the armed forces. Labor force size tends to vary during the year as seasonal workers enter and leave.


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LeapFrog LeapTV Ultimate Spider-Man Educational, Active Video Game
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(as of April 20, 2020 12:00 am GMT+0000 - Details) + Add To Wish List

subset: commoncrawl


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DEAR ABBY: I'm writing about the letter you printed from "Somewhere in the South" (May 26) who heard someone confess to a crime he had committed at age 12 during one of his Narcotics Anonymous (NA) meetings. The person asked if he should go to the police. You advised him to talk about it to the "group leader."
Abby, in a 12-step program, there is no formal leader who has a responsibility to report anything to the authorities. There are usually discussion groups led by someone chosen for the night.
I am not condoning what the person did at that young age. It was a horrible act. But 12-step programs are based on anonymity. Reporting what is heard at meetings is completely against what 12-step meetings are all about. It was unfair of you to place responsibility on someone who is there for his own addiction to tell on another group member. -- ANONYMOUS IN THE USA
DEAR ANONYMOUS: I received a ton of criticism for my response to that letter. Readers like you wrote to point out that I was misinformed about how these programs work; others berated me for not insisting the writer notify the police immediately.
I was -- and still am -- of two minds on the question. While it would be satisfying to see "justice done," I could not bring myself to recommend going against the principle upon which these 12-step programs that have helped thousands of people is based. Another principle of these programs is that people who have hurt others must make amends for what they have done. However, this is the responsibility of the person who committed the crime -- not someone who overheard mention of it at a meeting. Read on:
DEAR ABBY: I have been a member of NA for 26-plus years (drug- and alcohol-free for that entire time). I also work in the field of mental health, where I have certain reporting duties as part of my professional code of ethics. I learned long ago how to separate my professional responsibilities from my membership in NA. If I obtain information about abuse or neglect in the conduct of my profession, then I have a duty to act. Should I overhear something at a meeting, in the mall or some other social setting, I have no specific duty to report. -- CLEAN, FREE AND LIVING LIFE
DEAR ABBY: As a 30-year member, I can say with certainty that some meeting attendees are grandiose and others are mentally ill. I have not infrequently heard disclosures that I later determined to be not true. The advice for members offered by our NA traditions is, "Take what you can use (in one's own recovery) and leave the rest of what one hears at a meeting." -- CHARLES IN ILLINOIS
DEAR ABBY: I disagree with your answer to that letter! Yes, this needs to be reported. If the victim died in that incident, it is a cold case and the boy's parents -- if they are still alive -- would have never had closure. There may be siblings who would want to know what happened to their brother.
I am not a believer that if you confess to murder in NA, AA or with a priest in a confessional that they are bound not to tell. That is hogwash! For some crimes I would say OK, but not something this serious. -- JIM R., LANCASTER, CALIF.


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Bewitchingly beautiful and absolutely angelic, Lake District is one of the most picturesque and popular destinations in England. With a plethora of things to do and see, our trip to this wonderful mountainous region ranks as one of my most memorable holidays. Among the splendid places we visited, the garden village of Grasmere, however, remains my favorite.
Elegant and sublime, the idyllic environs of Grasmere had me truly captivated.
Described by William Wordsworth as one of the most beautiful places, Grasmere is extremely popular with tourists and is home to a number of cafes, pubs and quaint shops. I particularly loved the colorful stores selling some of the most exquisite and attractive garden accessories.
Grasmere, is of course, most famous for the fact that it was once the home of the renowned poet William Wordsworth for about fourteen years. Dove cottage which is the name of his 17th century home, that he shared with his sister Dorothy Wordsworth, lies on the outskirts of Grasmere and is one of the most visited places in Lake District. It is a place of great literary significance, in that, it was here that several of his timeless master pieces including "Ode to Duty" were penned. The impeccably maintained house and the adjoining museum are a 'must visit' if you are a fan of classic English literature. The grave of William Wordsworth lies in the premises of Grasmere's St. Oswald's Church.
Our last stop at Grasmere was at The Grasmere Gingerbread Shop which sells one of the most delectable versions of gingerbread. Started by Sarah Nelson in 1854, this delicious creation is a unique spicy-sweet cross between a biscuit and cake. Today, Grasmere Gingerbread is a registered trademark and the recipe is a 'top secret' that is passed down verbally through the generations. In fact, the original recipe is supposed to be housed in the secure confines of a bank vault! Their souvenir shop is equally attractive and worth a visit.
To know more about the other attractions in Lake District, you can read this article on Happy Trips.


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Launched in 2001
PL pISSN 1642-3593
PL eISSN 2080-3397
Ecohydrol. Hydrobiol.
In 2001 Polish Academy of Sciences launched the international journal of ECOHYDROLOGY & HYDROBIOLOGY. Currently the journal is published jointly by European Regional Centre for Ecohydrology of Polish Academy of Sciences and Elsevier.
Aims and Scope
Ecohydrology & Hydrobiology is an international journal that aims to advance ecohydrology as the study of the interplay between ecological and hydrological processes from molecular to river basin scales, and to promote its implementation as an integrative management tool to harmonize societal needs with biosphere potential.
An essential component of ecohydrology is a rigorous understanding of hydrobiology, from ecosystem properties, dynamics and functions to modelling of abiotic and biotic interactions in relation to their hydrological determinants at the basin scale.
The journal will publish high-quality science aimed at increasing the understanding of water–biota interplay in all types of ecosystems and exploring how this knowledge can be used to regulate hydrological and biogeochemical processes to enhance the carrying capacity especially of anthropogenically modified ecosystems. Research addressing one or several of the following issues will be of prime interest to the journal if it:
Home | Ecohydrology concept | Editors | Archives | Subscription
design: neurino, strony www Łódź


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Greetings and Salutations, my Dons and Divas! Today's Daily Word is dedicated to staying high! My apologies to those who think I'm referencing a certain herbal substance that requires doctor approval to be legal... Noooo!! I'm talking about keeping your momentum! Often times, we find ourselves motivated, inspired, unstoppable, and ready to take on the world!! We ponder about our course of action and with every ounce of our being, we know that we will be successful! Somewhere between us starting our plan and finishing it we start to lose momentum... We begin to speak to people about our intentions and if they aren't as enthusiastic we begin to doubt ourselves! We start anyway, but if we don't begin seeing immediate progress then the doubting process continues!! Stay High!! Understand that motivation is a continual process not a one shot deal!! In everything you do you must have Stick-to-itiveness!! It is imperative that you understand that it is always too early to quit! Don't stop until you win!! Keep your enthusiasm, your momentum, and always stay busy!! Idle time lends itself to idle thoughts!! Everything you want is yours if you really want it!! Some make excuses, some make it happen!! Be the latter (ladder) and climb your way to success!! (Notice the word play!! LOL!!) -Ash'Cash "Enthusiasm is the mother of effort, and without it nothing great was ever achieved." -Ralph Waldo Emerson "People often say that motivation doesn't last. Well, neither does bathing - that's why we recommend it daily." -Zig Ziglar "If you're coasting, you're either losing momentum or else you're headed downhill." -Joan Welsh "One way to keep momentum going is to have constantly greater goals." -Michael Korda "If you have the guts to keep making mistakes, your wisdom and intelligence leap forward with huge momentum." -Holly Near "Success is not final, failure is not fatal: it is the courage to continue that counts." -Winston Churchill "Sometimes thinking too much can destroy your momentum." -Tom Watson "You don't make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas." -Shirley Hufsteddler TO HEAR THE AUDIO VERSION OF THE DAILY WORD – CLICK HERE.
Ash'Cash is a Business Consultant, Motivational Speaker, Financial Expert and the author of Mind Right, Money Right: 10 Laws of Financial Freedom. For more information, please visit his website, www.IamAshCash.com.


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*Overall responsibility for the regions sales, third party alliances, and customer satisfaction. Develops and implements a comprehensive strategy that maximizes Oracle's opportunities across all products and product lines.Manages and develops a team of sales representatives including recruiting, hiring, and training new reps on the Oracle sales process. May manage a Regional Manager or Branch Manager. Sells and promotes the sales of Oracle products to customers including negotiating price, other concessions and terms and conditions of the sale. Participates in strategic and tactical planning for the division. Builds working relationships with license, consulting and education field managers in the respective territory to develop joint account plans. Develops and execute a territory plan to maximize revenue. Generates and achieves monthly territory forecasts, and accurately predicts revenue on a monthly basis. Manages escalation. Conducts weekly progress meetings with sales team.Assists in the development of short, medium, and long term plans to achieve strategic objectives. Regularly interacts across functional areas with senior management or executives to ensure unit objectives are met. Ability to influence thinking or gain acceptance of others in sensitive situations important. 5 or more years sales or sales management experience within technology industry. Ability to hire and train new sales representatives. Ability to resolve customer satisfaction issues. Demonstrated leadership skills. Effective written and verbal communication skills, ability to present to large and small audiences. Ability to negotiate price, other concessions and terms and conditions. Strong quantitative, analytical and conflict resolution abilities.As part of Oracle's employment process candidates will be required to successfully complete a pre-employment screening process. This will involve identity and employment verification, professional references, education verification and professional qualifications and memberships (if applicable).
To apply for this job please visit www.naukrigulf.com.


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Square Chomp
How can the first player (Player A) of a game of Square Chomp guarantee to win? Simple. The first move is to chomp all the cookies except those along the left and bottom edges.
If the second player (Player B) now chomps the poisoned cookie, she has lost, so we can assume she doesn't. So she must chomp either some cookies along the left edge, starting from the top, or some cookies along the bottom edge, starting from the right side.
Player A should then chomp the "symmetric cookies" - the matching cookies along the bottom edge if Player B chomped some on the left edge, and vice versa.
At each stage, either Player B will chomp the poisoned cookie, or she can only take cookies from the left edge or bottom edge, but not both. So at each stage Player A can reply by taking the "symmetric cookies", until only the poisoned cookie is left, which Player B has to eat.
Thin Chomp
The analysis of Thin Chomp is a little more complicated, but not much. Clearly Player A can win Chomp played on the shortest possible "Thin Grid" - a grid of just 2 cookies. We will use a recursive argument - showing that if Player A can win Chomp played on all Thin Grids 1,..,n-1 cookies long, then she can win on a Grid n cookies long.
On a Thin Grid n cookies long, Player A should start by taking just the top righthand cookie.
If Player B now chomps any cookie from the bottom row, she has transformed the game into Chomp played on a shorter Thin Grid, and Player A can win. So we can assume she doesn't take any cookies from the bottom row.
If she chomps all the cookies from the top row, then Player A can chomp all the cookies left except the poisoned one, and again Player B loses.
So we can assume that Player B chomps some but not all of the cookies in the top row. This means there are at least two more cookies left in the bottom row than in the top row.
Player A should now chomp only cookies from the bottom row, leaving exactly one more cookie in the bottom row than are left in the top.
Then Player B's move can be analysed in exactly the same way as for her first move, and we come to the conclusion that if she is not to lose, she will have to chomp some but not all of the cookies in the top row. But there are only finitely many cookies in the top row, so eventually this won't be possible, and Player B will lose.
So, how can the first player
So, how can the first player (Player A) of a game of ( 4x7 ) Chomp guarantee to win ?
I won twice
I'm in ap comp sci too and I know you go to the same school as me, mere child. I have won twice and I have no idea what I was doing. I got it like this on my turn:
X o _ _ _ _ _
o o _ _ _ _ _
_ _ _ _ _ _ _
_ _ _ _ _ _ _
I clicked on the south east O and in two turns I won.
Winning chomp
It extremely difficult to win against the computer. I did it, but that was after I ran the computer against itself and then copied its exact moves. There are certain situations that guarantee a win and you basically have to figure out all of them. The computer I played against used this list of winning positions:
private static int winPositions[][] =
{7,6}, {6,5}, {5,4}, {4,3}, {3,2}, {2,1},
{7,7,4}, {7,5,2}, {6,4,2}, {4,2,2},
{7,4,3}, {6,3,3}, {5,5,3},
{4,1,1,1}, {3,1,1},
{2,2,1}, {3,3,1,1},
//Each array is number of squares in row 0, 1, 2, 3 (a missing element is 0)


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WASHINGTON (AP) — The proposed Keystone XL oil pipeline from Canada has cleared a significant hurdle after the State Department raised no major environmental objections to its construction.
The department's report was released Friday. It says Canadian tar sands are likely to be developed regardless of U.S. action on the pipeline and other options to get the oil from western Canada to Texas Gulf Coast refineries are worse for the environment.
The latest environmental review stops short of recommending approval of the project.
But the report gives the Obama administration political cover if it chooses to endorse the pipeline in spite of opposition from many Democrats and environmental groups. State Department approval of the project is needed because it crosses a U.S. border. A decision is not expected before the summer.
Copyright 2014 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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I've merged some tips from the original thread (and some others) to make it more concise and easy to find tips. This thread will be locked, however, if you wish to add a tutorial or suggestion, please feel free to PM me.
This thread will include:
* Questions on materials and how to do certain things
* Give techniques that you have learned
* Request spare parts
Also, there's a plethora of customizing tutorials on the internet.
Figurerealm has an entire page dedicated to tutorials, located here http://www.figurerealm.com/viewcustomtutorial.php
PLEASE be sure to read through and check out the links in this thread BEFORE posting a thread asking how to customize. Thanks
Where to buy sculpting materials?
Aves Studios
Jerry's Artarama
The Sculpting Studio
What paints are best to use?
In most cases Acrylics work better with action figure plastic, enamels tend to dry sticky. I use a broad range of paints including Americana,Apple Barrel Folk Art, Testors, etc.
The Colorful Truth About the Difference Between Acrylic Paint Grades
Cel vinyl Paints
Originally Posted by Passiondesigns


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But wait!! With the new site, we have a new location for the blog! Please click on the link below, and then update your blog readers and lists so you won't miss out on anything exciting from Glitz Design!!
All the fun is moving on over there, so pack up your Glitzy bags and move on over with us!!


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Every time you enjoy some food or a (non alcoholic) drink at one of our venues,
you'll earn points (Currently excludes Herringbone). 4 points for every £1 spent
to be precise. And once you have accumulated 500 points we will conveniently convert
them into £5 which you can spend as you wish in any of our venues. But the deal
doesn't stop there. Cardholders also receive information about the fantastic offers
and promotions as well as invites to exclusive events, plus a birthday surprise...
The more points accumulated, the greater the reward. It's that simple. You can check
your transactions and your points balance at any time online or at any of our venues
at our website.
To get your benefit card and start earning points just go to one of our venues and one
of our team will give you a card.
What's more register now & we'll reward you with 500 bonus points (that's £5)!


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It seems like everyone from bloggers to your next-door neighbors doles out financial advice these days. It can be difficult figuring out who to believe, and bad tips can pop up as frequently as thunderstorms in the summertime. In fact, some seemingly sensible advice can turn out to be a bad idea of the highest magnitude, and some "conventional wisdom" really isn't. Even widely held beliefs can turn out to be clunkers, as this roundup from financial experts illustrates.
LIST: 10 Ways to Improve Your Financial Health


text:
EU climate law sets direction but lacks urgency: WWF
We need a climate GPS system, but this proposal is only a compass, it said
Bird-sized fossil found in Myanmar could be smallest dinosaur: Scientists
The study could offer insight into how dinosaurs evolved to be small, according to scientists
Earth Day@50: NatGeo highlights evolution of Human-Nature relationship
National Geographic brings together its family of explorers and experts to highlight the fragile human-nature relationship
International Day for Biological Diversity 2020: Spotlight on nature-based solutions
The purpose of observing the International Day for Biological Diversity is to highlight importance of conserving biodiversity
Odisha starts project to conserve Bhitarkanika fishing cats
The nocturnal species are not easy to trace; no exact ecological data on their population at the park
Forest dept finds irregularities in non-profit's owl conservation efforts
Wildlife Research and Conservation Society accused of violations including straying from the core area of conservation, banding owl species …
Dredging of river near Chernobyl could spell disaster for 28 million in Ukraine
Pripyat river is being drained as part of the E40 inland navigation project to connect the Baltic and Black Seas
World lost 68% vertebrates in 1970-2016: WWF
Freshwater wildlife down 84%; Latin America, the Caribbean particularly hit
US govt halts funding for relocation projects in protected areas
The move comes in response to alleged human rights violations by WWF; likely to deal a blow to relocation project in Karnataka's Nagarhole …
Prevention, not mitigation needed to solve South Africa's plastic problem: WWF
Interventions needed across plastic value chain rather than just waste management
Agencies working towards making Haiderpur wetland in west UP a Ramsar site
Haidepur is significant as it supports rich biodiversity, offers livelihood opportunities for locals
All 5 freshwater dolphins threatened, 31 species extinct: IUCN Red list
Over-harvesting, destructive fishing methods and introduction of predatory species among major reasons for increasing decline of 17 fish species …
Lateral Thoughts: A recipe best avoided
Dependence on food import is not the solution for preventing biodiversity loss or decreasing greenhouse gas emissions
Time to reset our relationship with nature: UN ahead of 5th Environment Assembly
Addressing environmental crises will also help reach sustainable goals such as poverty-alleviation, food and water security and good health, says …
A third of freshwater fish face extinction: Report
As many as 16 species were declared extinct in 2020 alone
Conserving nature leads to higher net economic value: Study
It also pointed out that conservation and restoration did not universally provide greater net value than intensive human usage
Poaching, habitat loss push Africa's elephants to the brink
IUCN declares African forest and savanna elephants as 'critically endangered' and 'endangered' based on latest population …
Why India should prepare for COVID-19 recovered patients as 'next big health crisis'
A recent study says besides other long-term health risks, patients face higher chance of death even after six months of recovery
COVID-19 effect: Public concerns about environment have risen
There was an increase of 16% in the numbers of people concerned about loss of biodiversity from 2016-2020, described by experts as 'eco-…
Nature to tackle environment challenges: Triple investments by 2030, says UN report
Current investments of $133 billion comprise about 0.10% of global gross domestic product, most of which come from public sources
Uttarakhand lets in: Migrants bring city, drop sustainability
Scarcity, conservation, equitable and fair use of limited resources does not apply to them.
Kenya's huge railway project is causing environmental damage. Here's how
The project increased soil erosion, land degradation, flooding and habitat destruction.
World Biodiversity Day: Ever more important amid COVID-19 pandemic
Various levels and forms of biodiversity such as ecosystems, species, genes across all taxonomic ranges are threatened, and facing an alarming …
Nature-based solutions: Convenient ignorance of the inconvenient truth
Solutions based on going back to nature do exist, but to make a tangible impact on climate change, they need to be executed at scale and with …
Harness power of nature-based solutions to fight climate crisis: G20 ministers
G20 countries identify need for sustainable business models to implement nature-based solutions in developing countries; but they lack direction


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Marijuana Cultivation
Marijuana Cultivation
Wikibooks version
PDF Pre-Printed
NoticeThe information contained in this book is intended for use only in jurisdictions where the activities contained therein are legal. No claim of the accuracy, safety, or the legality of following the instructions contained in this book is made and it is not recommended to follow them. You are responsible for your own actions if you do so. Nothing contained in this book should be construed to be legal or medical advice.
|Marijuana Cultivation
Introduction – Fundamentals – Seedlings – Vegetative Growth – Cloning – Sexing – Flowering – Harvesting – Curing – Producing Seeds – Pests and Pest Control – Common Plant Problems


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My SciELO
Interface - Comunicação, Saúde, Educação
Print version ISSN 1414-3283
SOARES, Marisley Vilas Bôas; FORSTER, Aldaísa Cassanho and SANTOS, Manoel Antônio dos. Evaluation of support houses for individuals living with HIV/AIDS in the Municipality of Ribeirão Preto of the State of São Paulo, Brazil.Translated byPhilip Sidney Pacheco Badiz. Interface (Botucatu) [online]. 2008, vol.4Selected edition, pp. 0-0. ISSN 1414-3283.
This study was an evaluation of the structure, functioning and characterization of administrative and biopsychosocial practices of support houses (two dedicated to adults and one to minors) for individuals with HIV/AIDS in the Municipality of Ribeirão Preto, São Paulo State, Brazil. The methodology used was quantitative-qualitative, evaluative and exploratory research by free observations, a field diary and application of an instrument containing closed and open questions elaborated based on the Technical Norms of Health Surveillance Center, of the Center for Reference and Training on STDs and AIDS, of the State Health Department (CVS/CRT/AIDS/SES-SP). These organizations are run by an assistance and humanitarian entity, mostly maintained with resources from the civil society, partially following the norms and requirements of health agencies and health surveillance. Their coordination and human resources consist predominantly of women, both paid employees and volunteers. This work illustrates the important role of these nongovernmental organizations (NGOs) in the field of social rights related to HIV/AIDS patients, filling lacunas not provided by governmental institutions.
Keywords : evaluation; health care; acquired immunodeficiency syndrome; nongovernmental organizations.


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Five Questions Every Worker Should Ask Before Retirement
Wall Streets recent turmoil has many investors questioning whether they will have enough to retire the way theyve always dreamed, or to retire at all, for that matter.
Whether your post-work life is just around the corner or far away in the distance, there's never a bad time to reevaluate your definition of retirement: what it means ideologically and financially.
How you answer that question has very important implications about where you're going to be and what you're going to spend, says author and certified financial planner Eleanor Blayney. There's so many demands on the dollars we thought we'd be using in our 60s or 70s. Retirement used to be a going away from the workplace. Now it has to be thought of as 'what am I going toward?'
When it comes to retirement planning, it is important to evaluate the big picture: desired lifestyle, trips and activities to pursue and of course, financial security and retirement.
You have to be much more active in [retirement], you're also at the point of life where you're at the maximum complexity of financial issues, Blayney says.
Deciding how much resources retirees will need and when to pull them, is tricky and people generally do a poor job of it, according to experts. Research from the Society of Actuaries shows that that 49% of retirees and near-retirees plan for 10 years or less of retirement.
A certified financial planner or money manager can help investors understand complicated tax, estate and retirement demands, but before going its important to have a plan.
Here are five questions every investor needs to ask regarding planning for retirement:
How am I going to spend my time and how will I make it count? It's important to visualize your day-to-day retirement life in order to properly plan for it, Blayney advises.
Where will I be and who will I be with? she says. Boredom can cost you. You pick up expensive hobbies. Sometimes our only job is how to spend our money and how to make it last.
Practicing retirement is a good start. Before leaving the workforce entirely, Blayney suggests knocking your work schedule down gradually and observe how you spend your money and extra free time. Take the time to try out new hobbies and pursue passions.
Do I have enough to have live comfortably and have fun? Review your retirement goals regularly. Social Security can be drawn without penalty between ages 65 and 67, depending on birth year. But Social Security can not fully fund you retirement and will require some sort of supplement either through Individual Retirement Accounts (IRAs), which can be withdrawn at age 55, pensions or 401(k) plans.
The age at which each person can retire varies; the longer you work, the more you'll benefit from your investments and Social Security, says Anna Rappaport, an actuary and retirement expert. Researchers at Boston College have estimated that many people have a shortfall in what they need for retirement but working two to four years longer will close the gap for a lot of them.
Be sure to evaluate your income and budget for necessities, incidentals and fun money.
Many retirees and financial advisors assume the cost of living decreases in retirement, pointing to costs to commute, meals and wardrobe, says Mark Gianno, president of Gianno & Freda, Inc., a Boston accounting firm. Retirees spend at least as much and often more than they did while in the workforce. Retirees have more time on their hands to pursue interests such as travel, home improvement, entertainment and hobbies.
Should I downsize? Housing accounts for about one-third of expenses for people aged 65 and older, according to the Mature Market Institute. Next on the list is transportation, taking up nearly 20% of total expenses. A lot of retirees want to keep their big place for a family to come home to for the holidays, but Blayney says moving to a smaller home in a more affordable city is a good way to stretch your nest egg.
Take a look at AARP's 2011 list of most affordable retirement cities
If downsizing isn't an option, or you'd like to stay in your home forever, pay off your mortgage before retirement or consider a reverse mortgage as a way to gain extra monthly income.
Also consider downsizing big, gas-guzzling vehicles or opt to keep cars longer to avoid recurring payments.
What if something happens to me or my spouse? Consider how unfortunate circumstances could affect your lifestyle and plan for them while you're healthy: Will you want to be near your children in the event that you get sick? Live in an assisted-living facility? Will you have enough money to take care of yourself?
Plan adequately for widowhood, Rappaport says.
I estimate that an individual needs about 75% as much to live as a couple, she says. Most people think the survivor will be about as well off as before the death of his or her spouse, yet many widows have a decline in economic status after the death of their spouses. About 4 in 10 older women alone have virtually no money other than Social Security.
What about health care? Medicare is available to most people 65 and older, but even with government or employer-subsidized insurance, unreimbursed health-care costs associated with aging could cost as much as $200,000 over the course of retirement, according to Blayney.
Nursing homes alone can exceed $70,000 annually, Rappaport says.
Medicare covers a very large portion of acute health-care costs for those over age 65, but very little long term care expenses. And individual insurance premiums go up with age, and insurability may be lost if the purchase is delayed. Prepare for medical expenses and coverage in advance to prevent financial ruin, Rappaport says.
Gianno suggests transferring assets away from your control long before they may be forcibly spent for your care.


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This picture reminds us of painful high school dances when, as freshmen and sophomores, your band of friends would "couple up" with a group of the opposite sex and everyone would move as a massive clump. No one had "dates"; none of that "he's with her and she's dancing with him." Just a buncha awkward adolescents doing the cool thing and dancing solo.
And the theme of this China Open dance? "An Evening of Stars". Dress is semi-casual, of course, and no doubt these crazies will be out on the dance floor rockin' to Miley in no time.
Wonder which player's parents are hosting the after-dance movie night?!
(image via Bryan Bros. Twitter)


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Max didn't go mad; he just did his job
The route-planning process is the be-all and end-all for any overland heavylift transport. The choice of the right vehicle comes next. The company Samuel Amsler deployed a Faymonville 'Mega Max' unit for its recent haulage of a 24 t steel container that was 20 m long. The... more
Fulfil the trust placed
Is a boom set to rise from the crisis? Prudence is essential, Christophe Grammare, AAL Shipping's commercial director, told Christian Doepgen, for shippers expect regularity and dependability. AAL is developing liner services to fulfil the trust placed in the carrier. more
Bundling forces in Brazil
Intermarine, a heavylift operator with a strong presence in the Americas, above all, and its sister company SAL Heavy Lift, are set to operate jointly in Brazil from March. An experienced team will serve the promising market from a new São Paulo office. more
In orbit for 15 years
Project transport tasks for space flights are always demanding, on account of the sensitive cargo. A French and a Ukrainian firm recently teamed up with a US entity to ship a South Korean 'Army Navy Air Force Satellite Information System' unit (Anasis) to its launch pad. more
A heavy anniversary
The gateway in Burns Harbor is celebrating its 50th anniversary with a rather special project. Hundreds of elements needed for the construction of a power station transited through the hub on the southern shore of Lake Michigan. more
Markets & timing
At the beginning of this year AAL started a monthly Europe–Middle East–India–Far East service. Christian Doepgen spoke to Eike Muentz, general manager for Europe, and Jan-Henrik Heyken, senior chartering manager for Europe. more
Maghreb gateway still open
It's always best to consult an expert if you want to know about developments in a regionally specialised market such as the ones in the Maghreb. Tandem Group founder and owner Habib Bouricha, who has been operating since almost ten years, spoke to the ITJ's Christian Doepgen... more
Bridging the river Amur
Livo Logistics and Topline Express Logistics teamed up to mutually support each other in northeastern China recently, where ten cranes had to cross the border from China into Russia. An unseasonable winter storm in spring was a boon rather than a bane. more
Ready to go and flexible
The way airfreight is currently gasping for capacities probably causes stressful moments for many a logistician today – all the more so if they have to shift particularly large or heavy consignments. ITJ editor Andreas Haug spoke to a charter specialist about the current state... more
From Ravenna to Rotterdam
The company Briese Chartering recently transported eight 74 m pylons weighing 282 t each from the Adriatic to the North Sea. The world's largest crane ship took over the consignments there and took them to their final destination on an oil platform. more


text:
Federico Fellini
|Federico Fellini
20 January 1920
Rimini, Italy
31 October 1993 73) (aged
Rome, Italy
|Cause of death
|Film director and screenwriter
|Years active
|Notable work
Giulietta Masina
(m. 1943)
Federico Fellini (Italian: [fedeˈriːko felˈliːni]; 20 January 1920 – 31 October 1993) was an Italian film director and screenwriter. Known for his distinct style that blends fantasy and baroque images with earthiness, he is recognized as one of the most influential filmmakers of all time.[1][2][3] His films have ranked, in polls such as Cahiers du cinéma and Sight & Sound, as some of the greatest films of all time. Sight & Sound lists his 1963 film 8½ as the 10th greatest film of all time.
In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita, was nominated for twelve Academy Awards, and directed four motion pictures that won Oscars in the category of Best Foreign Language Film. In 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles.[4]
Early life and education
Rimini (1920–1938)
Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. His father, Urbano Fellini (1894–1956), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome with his adopted brother Skyler Allen in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida Barbiani (1896–1984), came from a bourgeiois Catholic family of Roman merchants. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola.[5] A civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later.
The couple settled in Rimini where Urbano became a traveling salesman and wholesale vendor. Fellini had three siblings: Riccardo (1921–1991), a documentary director for RAI Television, Skyler Allen (1926–1985), and Maria Maddalena (m. Fabbri; 1929–2002). In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonni public school two years later. An attentive student, he spent his leisure time drawing, staging puppet shows, and reading Il corriere dei piccoli, the popular children's magazine that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. (Opper's Happy Hooligan would provide the visual inspiration for Gelsomina in Fellini's 1954 film La Strada; McCay's Little Nemo would directly influence his 1980 film City of Women.)[6] In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown, and the movies. Guido Brignone's Maciste all'Inferno (1926), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career.[7]
Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi 'Titta' Benzi, later a prominent Rimini lawyer (and the model for young Titta in Amarcord (1973)). In Mussolini's Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). The sea creature found on the beach at the end of La Dolce Vita (1960) has its basis in a giant fish marooned on a Rimini beach during a storm in 1934.
Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), 8½ (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions:
It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them.[8]
In 1937, Fellini opened Febo, a portrait shop in Rimini. with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan's Domenica del Corriere. Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. Failing his military culture exam, he graduated from high school in July 1938 after doubling the exam.
Rome (1939)
In September 1939, he enrolled in law school at the University of Rome to please his parents. Biographer Hollis Alpert reports that "there is no record of his ever having attended a class".[9] Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma but quit after a short stint, bored by the local court news assignments.
Four months after publishing his first article in Marc'Aurelio, the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled But Are You Listening?[10] Described as "the determining moment in Fellini's life",[11] the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show business and cinema. Among his collaborators on the magazine's editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter. Conducting interviews for CineMagazzino also proved congenial: when asked to interview Aldo Fabrizi, Italy's most popular variety performer, he established such immediate personal rapport with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young protégé.[12]
Career and later life
Early screenplays (1940–1943)
Retained on business in Rimini, Urbano sent wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of Marc'Aurelio, began writing radio sketches and gags for films.
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). Progressing rapidly to numerous collaborations on films at Cinecittà, his circle of professional acquaintances widened to include novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of Mussolini's declaration of war against France and England on 10 June 1940, Fellini discovered Kafka's The Metamorphosis, Gogol, John Steinbeck and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier.[13] In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego.[14]
Writing for radio while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war.[15] 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. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order".[16] Responsible for emergency re-writing, he also directed the film's first scenes. When Tripoli fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to Sicily. His African adventure, later published in Marc'Aurelio as "The First Flight", marked "the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field".[17]
The apolitical Fellini was finally freed of the draft when an Allied air raid over Bologna destroyed his medical records. Fellini and Giulietta hid in her aunt's apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of encephalitis a month later on 24 April 1945.[18] The tragedy had enduring emotional and artistic repercussions.[19]
Neorealist apprenticeship (1944–1949)
After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. 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 . Aware of Fellini's reputation as Aldo Fabrizi's "creative muse",[20] Rossellini also requested that he try to convince the actor to play the role of Father Giuseppe Morosini, the parish priest executed by the SS on 4 April 1944.
In 1947, Fellini and Sergio Amidei received an Oscar nomination for the screenplay of Rome, Open City.
Working as both screenwriter and assistant director on Rossellini's Paisà (Paisan) in 1946, Fellini was entrusted to film the Sicilian scenes in Maiori. In February 1948, he was introduced to Marcello Mastroianni, then a young theatre actor appearing in a play with Giulietta Masina.[21] 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. To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.
Early films (1950–1953)
In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada's wife, Carla del Poggio. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.[22] In February 1950, Paisà received an Oscar nomination for the screenplay by Rossellini, Sergio Amidei, and Fellini.
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. Starring Alberto Sordi in the title role, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Producer Carlo Ponti commissioned Fellini and Tullio Pinelli to write the script but Antonioni rejected the story they developed. With Ennio Flaiano, they re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to visit the Pope. Ivan's prissy mask of respectability is soon demolished by his wife's obsession with the White Sheik. Highlighting the music of Nino Rota, the film was selected at Cannes (among the films in competition was Orson Welles's Othello) and then retracted. Screened at the 13th Venice International Film Festival, it was razzed by critics in "the atmosphere of a soccer match".[23] One reviewer declared that Fellini had "not the slightest aptitude for cinema direction".
In 1953, I Vitelloni found favour with the critics and public. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.
Beyond neorealism (1954–1960)
Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano. During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression.[25] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.[25]
Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone. Based partly on stories told to him by a petty thief during production of La Strada, Fellini developed the script into a con man's slow descent towards a solitary death. To incarnate the role's "intense, tragic face", Fellini's first choice had been Humphrey Bogart[26] but after learning of the actor's lung cancer, chose Crawford after seeing his face on the theatrical poster of All the King's Men (1949). The film shoot was wrought with difficulties stemming from Crawford's alcoholism.[27] Savaged by critics at the 16th Venice International Film Festival, the film did miserable box office and did not receive international distribution until 1964.
During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobino's novel, The Free Women of Magliano. Located in a mental institution for women, financial backers considered the subject had no potential and the project was abandoned.
While preparing Nights of Cabiria in spring 1956, Fellini learned of his father's death by cardiac arrest at the age of sixty-two. Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration from news reports of a woman's severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone.[28] Pier Paolo Pasolini was hired to translate Flaiano and Pinelli's dialogue into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the Academy Award for Best Foreign Language Film at the 30th Academy Awards and brought Masina the Best Actress Award at Cannes for her performance.
With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral.[29] Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini. For Eduardo De Filippo, he co-wrote the script of Fortunella, tailoring the lead role to accommodate Masina's particular sensibility.
The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto.[30] 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. Pierluigi Praturlon's photos of Anita Ekberg wading fully dressed in the Trevi Fountain provided further inspiration for Fellini and his scriptwriters. 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. Reaching an impasse, De Laurentiis sold the rights to publishing mogul Angelo Rizzoli. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peter's in a mammoth décor constructed at Cinecittà. The statue of Christ flown by helicopter over Rome to Saint Peter's Square was inspired by an actual media event on 1 May 1956, which Fellini had witnessed. The film wrapped August 15 on a deserted beach at Passo Oscuro with a bloated mutant fish designed by Piero Gherardi.
La Dolce Vita broke all box office records. Despite scalpers selling tickets at 1000 lire,[31] crowds queued in line for hours to see an "immoral movie" before the censors banned it. At an exclusive Milan screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the film's controversial themes.[32] The Vatican's official press organ, l'Osservatore Romano, lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences.[33] In competition at Cannes alongside Antonioni's L'Avventura, the film won the Palme d'Or awarded by presiding juror Georges Simenon. The Belgian writer was promptly "hissed at" by the disapproving festival crowd.[34]
Art films and dreams (1961–1969)
A major discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963). Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[35] were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric".[36] As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious directly influenced such films as 8½ (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980).[37] Other key influences on his work include Luis Buñuel,[38] Charlie Chaplin,[39] Sergei Eisenstein,[40] Buster Keaton,[41] Laurel and Hardy,[41] the Marx Brothers,[41] and Roberto Rossellini.[42]
Exploiting La Dolce Vita's success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolini's project, Accattone (1961).[43]
Condemned as a "public sinner"[44] for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio '70. His first colour film, it was the sole project green-lighted at Federiz. Infused with the surrealistic satire that characterized the young Fellini's work at Marc'Aurelio, the film ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.
In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: "Well then - a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system."[45] Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film"[46] in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie's title. Under pressure from his producers, Fellini finally settled on 8½, a self-referential title referring principally (but not exclusively)[47] to the number of films he had directed up to that time.
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. He hired cinematographer Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.[48] The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of 8½, Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make".[49]
Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional - the realm of fantasy".[50] After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares that would later become signature tunes of the maestro's cinema.[51] Nominated for four Oscars, 8½ won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured Disneyland with Walt Disney the day after.
Increasingly attracted to parapsychology, Fellini met the Turin magician Gustavo Rol in 1963. Rol, a former banker, introduced him to the world of Spiritism and séances. In 1964, Fellini took LSD[52] under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada.[53] For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that
objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.[54]
Fellini's hallucinatory insights were given full flower in his first colour feature Juliet of the Spirits (1965), depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy (Sandra Milo) introduces Juliet to a world of uninhibited sensuality but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota.
Nostalgia, sexuality, and politics (1970–1980)
To help promote Satyricon in the United States, Fellini flew to Los Angeles in January 1970 for interviews with Dick Cavett and David Frost. He also met with film director Paul Mazursky who wanted to star him alongside Donald Sutherland in his new film, Alex in Wonderland.[55] In February, Fellini scouted locations in Paris for The Clowns, a docufiction both for cinema and television, based on his childhood memories of the circus and a "coherent theory of clowning."[56] As he saw it, the clown "was always the caricature of a well-established, ordered, peaceful society. But today all is temporary, disordered, grotesque. Who can still laugh at clowns?... All the world plays a clown now."[57]
In March 1971, Fellini began production on Roma, a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences," writes Fellini scholar Peter Bondanella, "are held together only by the fact that they all ultimately originate from the director's fertile imagination."[58] The film's opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons.
Over a period of six months between January and June 1973, Fellini shot the Oscar-winning Amarcord. Loosely based on the director's 1968 autobiographical essay My Rimini,[59] the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellini's second biggest commercial success after La Dolce Vita.[60] Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma.[61] The director's overriding concern with developing a poetic form of cinema was first outlined in a 1965 interview he gave to The New Yorker journalist Lillian Ross: "I am trying to free my work from certain constrictions – a story with a beginning, a development, an ending. It should be more like a poem with metre and cadence."[62]
Late films and projects (1981–1990)
Organized by his publisher Diogenes Verlag in 1982, the first major exhibition of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York.[63] A gifted caricaturist, much of the inspiration for his sketches was derived from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, I disegni di Fellini (Fellini's Designs), he published 350 drawings executed in pencil, watercolours, and felt pens.[64]
On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival. That same year, he became the first non-American to receive the Film Society of Lincoln Center's annual award for cinematic achievement.
Long fascinated by Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a journey to the Yucatán to assess the feasibility of a film. After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun. Producer Alberto Grimaldi, prepared to buy film rights to all of Castaneda's work, then paid for pre-production research taking Fellini and his entourage from Rome to Los Angeles and the jungles of Mexico in October 1985.[65] 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. A barely veiled satirical interpretation of Castaneda's work,[66] Viaggio a Tulun was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990.
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. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the world's best director and 8½ the best European film of all time.[67]
In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzoni's novel, Il poema dei lunatici (The Lunatics' Poem). A small town was built at Empire Studios on the via Pontina outside Rome. Starring Roberto Benigni as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi.[68] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.[69] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.
Fellini won the Praemium Imperiale, the equivalent of the Nobel Prize in the visual arts, awarded by the Japan Art Association in 1990.[70]
Final years (1991–1993)
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".[71] Described as the "Maestro's spiritual testament" by his biographer Tullio Kezich,[72] excerpts culled from the conversations later served as the basis of their feature documentary, Fellini: I'm a Born Liar (2002) and the book, I'm a Born Liar: A Fellini Lexicon. Finding it increasingly difficult to secure financing for feature films, Fellini developed a suite of television projects whose titles reflect their subjects: Attore, Napoli, L'Inferno, L'opera lirica, and L'America.
In April 1993 Fellini received his fifth Oscar, for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in Zurich for an angioplasty on his femoral artery[73] but suffered a stroke at the Grand Hotel in Rimini two months later. Partially paralyzed, he was first transferred to Ferrara for rehabilitation and then to the Policlinico Umberto I in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible coma.
Fellini died in Rome on 31 October 1993 at the age of 73, a day after his fiftieth wedding anniversary. The memorial service was held in Studio 5 at Cinecittà attended by an estimated 70,000 people.[74] At the request of Giulietta Masina, trumpeter Mauro Maur played the "Improvviso dell'Angelo" by Nino Rota during the funeral ceremony.[75] Five months later on 23 March 1994, Giulietta Masina died of lung cancer.
Fellini, Masina and their son Pierfederico are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro. Designed as a ship's prow, the tomb is located at the main entrance to the Cemetery of Rimini. The Federico Fellini Airport in Rimini is named in his honour.
Religious views
Fellini was raised in a Catholic family, and considered himself a Catholic, although, as an adult, he avoided formal activity in the Catholic Church. Films by Fellini included Catholic themes: some celebrated Catholic teachings; whereas others clearly ridiculed such teachings.[76]
Political views
Despite various famous Italian actors favouring the Communists, Fellini, who was not left-wing, supported Christian Democracy (DC),[77] opposed the '68 Movement, and befriended Giulio Andreotti.[78] Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred,[79] Fellini rarely expressed his political views in public and never directed a political film. He also directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party or PRI.[80] His slogan, "Non si interrompe un'emozione" (Don't interrupt an emotion), was directed against the excessive use of advertisements in TV. The slogan was also used by the Democratic Party of the Left in the referendums of 1995.
Influence and legacy
Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general".[6] La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).[81]
Contemporary filmmakers such as Tim Burton,[82] Terry Gilliam,[83] Emir Kusturica,[84] and David Lynch,[85] have cited Fellini's influence on their work.
Polish director Wojciech Has, whose two major films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973), are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".[86]
I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and had an influence on Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1987), among many others.[87] When the American magazine Cinema asked Stanley Kubrick in 1963 to name his favorite films, the film director listed I Vitelloni as number one in his Top 10 list.[88]
Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992.
8½ inspired among others: Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), 8½ Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), along with the successful Broadway musical, Nine (Maury Yeston and Arthur Kopit, 1982).[89] Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by 8½.[90]
Fellini's work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by Bob Dylan with Motorpsycho Nitemare, 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.[91] American singer Lana Del Rey has cited Fellini as an influence.[92] It also influenced two American TV shows, Northern Exposure and Third Rock from the Sun.[93] Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini's work.[94]
Various film related material and personal papers of Fellini are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.[95] In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, Book of Dreams (based on 30 years of the director's illustrated dreams and notes), along with excerpts from La dolce vita and 8½.[96]
In 2014, the Blue Devils Drum and Bugle Corps of Concord, California performed a show themed around Fellini's works, entitled "Felliniesque", with which the Blue Devils won a record 16th Drum Corps International World Class championship with a record score of 99.650.[97] That same year, the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with the project, The Thousand Miles, based on various works of Fellini including his unpublished drawings and writings.[98]
Selected awards and nominations
- Rome, Open City (Dir. Roberto Rossellini, 1945)
- Oscar nomination for Best Screenplay (with Sergio Amidei)
- Paisà (Dir. Roberto Rossellini, 1946)
- Oscar nomination for Best Screenplay (with Sergio Amidei, Alfred Hayes, Marcello Pagliero, and Rossellini)
- I Vitelloni (1953)
- Venice Film Festival Silver Lion
- Oscar nomination for Best Screenplay (with Tullio Pinelli, Ennio Flaiano)
- La Strada (1954)
- Venice Film Festival Silver Lion
- Oscar for the Best Foreign Language Film[99]
- Oscar nomination for Best Screenplay (with Tullio Pinelli, Ennio Flaiano)
- New York Film Critics Award for Best Foreign Film
- Screen Directors Guild Award for Best Foreign Film
- Nights of Cabiria (1957)
- Festival de Cannes Best Actress Award (Giulietta Masina)[100]
- Oscar for the Best Foreign Language Film[101]
- La Dolce Vita (1960)
- Palme d'Or at Festival de Cannes
- Oscar Best Costumes in B&W (Piero Gherardi)
- Oscar nominations for Best Director, Best Screenplay (with Tullio Pinelli, Ennio Flaiano, Brunello Rondi), Best Art and Set Direction
- New York Film Critics Award for Best Foreign Language Film
- National Board of Review citation for Best Foreign Language Film
- 8½ (Otto e Mezzo, 1963)
- Moscow International Film Festival Grand Prize[102]
- Oscar for Best Foreign Language Film[103]
- Oscar for Best Costumes in B&W (Piero Gherardi)
- Oscar nomination for Best Director
- Oscar nomination for Best Art Direction-Set Decoration in B&W (Piero Gherardi)
- Italian National Syndicate of Film Journalists Silver Ribbons for Best Cinematography in B&W (Gianni Di Venanzo), Best Director (Federico Fellini), Best Original Story (Fellini and Flaiano), Best Producer (Angelo Rizzoli), Best Score (Nino Rota), Best Screenplay (Fellini, Pinelli, Flaiano, Rondi), and Best Supporting Actress (Sandra Milo)
- Berlin International Film Festival Special Award
- BAFTA Film Award nomination for Best Film from any Source
- Bodil Award for Best European Film
- Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures
- New York Film Critics Award for Best Foreign Film
- National Board of Review Award for Best Foreign Language Picture
- Grolla d'Oro at Saint Vincent Film Festival for Best Director
- Kinema Junpo Award for Best Foreign Language Film & Best Foreign Language Film Director
- Juliet of the Spirits (1965)
- New York Film Critics Award for Best Foreign Film
- National Board of Review Award for Best Foreign Language Story
- Golden Globe Award for Best Foreign Language Film
- Fellini Satyricon (1969)
- Oscar nomination for Best Director[104]
- I clowns (1970)
- National Board of Review citation for Best Foreign Language Film
- Amarcord (1974)
- Oscar for Best Foreign Film[105]
- Oscar nomination for Best Director
- Oscar nomination for Best Writing, Original Screenplay
- New York Film Critics Award for Best Direction
- New York Film Critics Award for Best Motion Picture
- Fellini's Casanova (1976)
- Oscar for Best Costumes (Danilo Donati)
- Intervista (1987)
- 15th Moscow International Film Festival Golden Prize[106]
- Festival de Cannes Special 40th Anniversary Prize
- The Voice of the Moon (1990)
- David di Donatello Awards for Best Actor, Best Production Design, and Best Editing
- 1964
- 1974
- 27th Cannes Film Festival Lifetime Achievement Award (with French director René Clair)
- 1985
- 42nd Venice Film Festival Golden Lion for Lifetime Achievement
- Film Society of Lincoln Center Award for Cinematic Achievement
- 1987
- 1989
- Lifetime Achievement Award - European Film Awards
- 1990
- Japan Art Association's Praemium Imperiale (equivalent of the Nobel Prize in the visual arts)
- 1993
- Oscar for Lifetime Achievement
As writer and director
- Luci del varietà (1950) (co-credited with Alberto Lattuada)
- Lo sceicco bianco (1952)
- I vitelloni (1953)
- L'amore in città (1953) (segment Un'agenzia matrimoniale)
- La strada (1954)
- Il bidone (1955)
- Le notti di Cabiria (1957)
- La Dolce Vita (1960)
- Boccaccio '70 (1962) (segment Le tentazioni del Dottor Antonio)
- 8½ (1963)
- Giulietta degli spiriti (1965)
- Histoires extraordinaires (1968) (segment Toby Dammit, based on Edgar Allan Poe's short story "Never Bet the Devil Your Head")
- Fellini: A Director's Notebook (1969)
- Fellini Satyricon (1969)
- I clowns (1970)
- Roma (1972)
- Amarcord (1973)
- Il Casanova di Federico Fellini (1976)
- Prova d'orchestra (1978)
- La città delle donne (1980)
- E la nave va (1983)
- Ginger e Fred (1986)
- Intervista (1987)
- La voce della luna (1990)
Screenplay contributions
- Knights of the Desert (1942)
- Before the Postman (1942)
- The Peddler and the Lady (1943)
- L'ultima carrozzella (1943) (dir. Mario Mattoli) Co-scriptwriter
- Roma, città aperta (1945) (dir. Roberto Rossellini) Co-scriptwriter
- Paisà (1946) (dir. Roberto Rossellini). Co-scriptwriter
- Black Eagle (1946) (dir. Riccardo Freda) Co-scriptwriter
- Il delitto di Giovanni Episcopo (1947) (dir. Alberto Lattuada) Co-scriptwriter
- Senza pietà (1948) (dir. Alberto Lattuada) Co-scriptwriter
- Il miracolo (1948) (dir. Roberto Rossellini) Co-scriptwriter
- Il mulino del Po (1949) (dir. Alberto Lattuada) Co-scriptwriter
- Francesco, giullare di Dio (1950) (dir. Roberto Rossellini) Co-scriptwriter
- Il Cammino della speranza (1950) (dir. Pietro Germi) Co-scriptwriter
- La città si difende (1951) (dir. Pietro Germi) Co-scriptwriter
- Persiane chiuse (1951) (dir. Luigi Comencini) Co-scriptwriter
- Il brigante di Tacca del Lupo (1952) (dir. Pietro Germi) Co-scriptwriter
- Fortunella (1979) (dir. Eduardo De Filippo) Co-scriptwriter
- Lovers and Liars (1979) (dir. Mario Monicelli) Fellini not credited
Television commercials
- TV commercial for Campari Soda (1984)
- TV commercial for Barilla pasta (1984)
- Three TV commercials for Banca di Roma (1992)
Documentaries on Fellini
- Ciao Federico (1969). Dir. Gideon Bachmann. (60')
- Federico Fellini - un autoritratto ritrovato (2000). Dir. Paquito Del Bosco. (RAI TV, 68')
- Fellini: I'm a Born Liar (2002). Dir. Damian Pettigrew. Feature documentary. (ARTE, Eurimages, Scottish Screen, 102')
- How Strange to Be Named Federico (2013). Dir. Ettore Scola.
See also
- ↑ "The 25 Most Influential Directors of All Time". MovieMaker Magazine.
- ↑ "10 Most Influential Directors Of All Time". WhatCulture.com.
- ↑ Burke and Waller, 12
- ↑ "Federico Fellini".
- ↑ Alpert, 16
- 1 2 Bondanella, The Films of Federico Fellini, 7
- ↑ Burke and Waller, 5–13
- ↑ Fellini interview in Panorama 18 (14 January 1980). Screenwriters Tullio Pinelli and Bernardino Zapponi, cinematographer Giuseppe Rotunno and set designer Dante Ferretti also reported that Fellini imagined many of his "memories". Cf. Bernardino Zapponi's memoir, Il mio Fellini and Fellini's own insistence on having created his cinematic autobiography in I'm a Born Liar: A Fellini Lexicon, 32
- ↑ Alpert, 33
- ↑ Kezich, 31
- ↑ Bondanella, The Films of Federico Fellini, 8
- ↑ Kezich, 55
- ↑ Alpert, 42
- ↑ Kezich, 35
- ↑ "Giulietta is practical, and likes the fact that she earns a handsome fee for her radio work, whereas theater never pays well. And of course the fame counts for something too. Radio is a booming business and comedy reviews have a broad and devoted public." Kezich, 48
- ↑ Kezich, 70
- ↑ Kezich, 71
- ↑ Kezich, 74
- ↑ Kezich, 157. Cf. filmed interview with Luigi 'Titta' Benzi in Fellini: I'm a Born Liar (2003).
- ↑ Kezich, 78
- ↑ Kezich, 404
- ↑ Kezich, 114
- ↑ Kezich, 128
- ↑ "Our flexible giant.". Cinecittà Studios. Retrieved 20 September 2013.
- 1 2 Kezich, 158
- ↑ Kezich, 167
- ↑ Kezich, 168-69
- ↑ Kezich, 177
- ↑ Kezich, 189
- ↑ Alpert, 122
- ↑ Kezich, 208
- ↑ Kezich, 209
- ↑ Kezich, 210
- ↑ Alpert, 145
- ↑ Kezich, 224
- ↑ Kezich, 227
- ↑ Bondanella, Cinema of Federico Fellini, 151-54
- ↑ "Buñuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular kinds of films." In Fellini and Pettigrew, I'm a Born Liar: A Fellini Lexicon, 87.
- ↑ "One of Cabiria's finest moments comes in the movie's nightclub scene. It begins when the actor's girlfriend deserts him, and the star picks up Cabiria on the street as a replacement. He whisks her away to the nightclub. Fellini has admitted that this scene owes a debt to Chaplin's City Lights (1931)." Cited in John C. Stubbs, Federico Fellini as Auteur: Seven Aspects of his Films (Carbondale: Southern Illinois University Press, 2006), 152-53. Peter Bondanella points out that Gelsomina's costume, makeup, and antics as a clown figure had "clear links to Fellini's past as a cartoonist-imitator of Happy Hooligan and Charlie Chaplin". Cited in Bondanella, The Cinema of Federico Fellini, 104
- ↑ In his study of Fellini Satyricon, Italian novelist Alberto Moravia observes that with "the oars of his galleys suspended in the air, Fellini revives for us the lances of the battle in Eisenstein's Alexander Nevsky (film)." Cited in Bondanella (ed), Federico Fellini: Essays in Criticism, 167
- 1 2 3 Bondanella, The Cinema of Federico Fellini, 8
- ↑ "Roberto Rossellini walked into my life at a moment when I needed to make a choice, when I needed someone to show me the path to follow. He was the stationmaster, the green light of providence... He taught me how to thrive on chaos by ignoring it and focusing on what was essential: constructing your film day by day." Cited in Federico Fellini and Damian Pettigrew, 17-18. In Fellini on Fellini, the director explains that his "meeting with Rossellini was a determining factor... he taught me to make a film as if I were going for a picnic with friends." In Fellini on Fellini (London: Eyre Methuen, 1976), 99-100
- ↑ Kezich, 218-219
- ↑ Kezich, 212
- ↑ Affron, 227
- ↑ Alpert, 159
- ↑ Kezich, 234 and Affron, 3-4
- ↑ Alpert, 160
- ↑ Fellini, Comments on Film, 161-62
- ↑ Alpert, 170
- ↑ Kezich, 245
- ↑ A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by Mexican tribes". Kezich, 255
- ↑ Kezich, 255
- ↑ Fellini and Pettigrew, 91
- ↑ Kezich, 410
- ↑ Bondanella, The Cinema of Federico Fellini, 192
- ↑ Alpert, 224
- ↑ Bondanella, The Cinema of Federico Fellini, 193
- ↑ Alpert, 239
- ↑ Bondanella, The Cinema of Federico Fellini, 265
- ↑ Alpert, 242
- ↑ Bondanella, Federico Fellini: Essays in Criticism, 104
- ↑ Kezich, 413. Also cf. The Warsaw Voice
- ↑ Fellini, I disegni di Fellini (Roma: Editori Laterza), 1993. The drawings are edited and analysed by Pier Marco De Santi. For comparing Fellini's graphic work with those of Sergei Eisenstein, consult S.M. Eisenstein, Dessins secrets (Paris: Seuil), 1999.
- ↑ Kezich, 360-61
- ↑ Kezich, 362
- ↑ Burke and Waller, xvi
- ↑ Bondanella, Cinema of Federico Fellini, 330
- ↑ Kezich, 383
- ↑ Kezich, 387. The award covers five disciplines: painting, sculpture, architecture, music, and theatre/film. Other winners include Akira Kurosawa, David Hockney, Balthus, Pina Bausch, and Maurice Béjart.
- ↑ Peter Bondanella, Review of Fellini: I'm a Born Liar in Cineaste Magazine (September 22, 2003), 32
- ↑ Kezich, "Forward" in I'm a Born Liar: A Fellini Lexicon, 5. Also cf. Kezich, 388
- ↑ Kezich, 396
- ↑ Kezich, 416
- ↑ "fellini funerali - Basilica di Santa Maria degli Angeli e dei Martiri alle Terme di Diocleziano di Roma". santamariadegliangeliroma.it (in Italian).
- ↑ Staff (September 2, 2005). "The Religious Affiliation of Director Federico Fellini". Adherents.com. Retrieved June 28, 2016.
- ↑ Franco Bianchini (October 31, 2013). "Il Fellini che non vi raccontano: votava Dc, rifiutava il cinema impegnato ed era contro il '68". Secolo d'Italia (in Italian).
- ↑ Jacopo Iacoboni (March 28, 2012). "Caro Andreotti, caro Fellini l'amicizia tra due arcitaliani". La Stampa (in Italian).
- ↑ Kezich, 367
- ↑ Unknown (March 18, 1992). "Con DC e PRI, Federico Fellini sponsor di due nemicicon DC e PRI, Federico Fellini sponsor di due nemici". il Corriere della Sera (in Italian).
- ↑ Ennio Flaiano, the film's co-screenwriter and creator of Paparazzo, explained that he took the name from Signor Paparazzo, a character in George Gissing's novel By the Ionian Sea (1901). Bondanella, The Cinema of Federico Fellini, 136
- ↑ Tim Burton Collective. Accessed Sept 17 2008
- ↑ Gilliam at Senses of Cinema. Accessed Sept 17 2008
- ↑ Kusturica Interview at BNET. Accessed Sept 17 2008
- ↑ City of Absurdity Quote Collection. Accessed Sept 17 2008
- ↑ Gilbert Guez, review of The Saragossa Manuscript in Le Figaro (September, 1966), 23
- ↑ Kezich, 137
- ↑ Ciment, Michel. "Kubrick: Biographical Notes" Accessed Dec 23 2009
- ↑ Numerous sources include Affron, Alpert, Bondanella, Kezich, Miller et al.
- ↑ Introduction to Giannina Braschi's Yo-Yo Boing!, Doris Sommer, Harvard University, Latin American Literary Review Press, 1998.
- ↑ Miller, 7
- ↑ Sciarretto, Amy (20 January 2015). "Lana Del Rey Is Working on New Music and Shared Some Hints About It". Artistdirect. Retrieved 2016-02-16.
- ↑ Burke and Waller, xv
- ↑ "Wes Anderson Honors Fellini in a Delightful New Short Film". Slate. November 12, 2013. Retrieved November 12, 2013.
- ↑ "Cinema Archives - Wesleyan University". wesleyan.edu.
- ↑ Baker, Tamzin. "Federico Fellini." Modern Painters, November 2009.
- ↑ "2014 DCI Champions", Halftime Magazine, Sept/Oct 2014.
- ↑ "Sylvain Chomet Steps Up for The Thousand Miles in Variety
- ↑ "The 29th Academy Awards (1957) Nominees and Winners". oscars.org. Retrieved 2011-10-24.
- ↑ "Festival de Cannes: Nights of Cabiria". festival-cannes.com. Retrieved 2009-08-02.
- ↑ "The 30th Academy Awards (1958) Nominees and Winners". oscars.org. Retrieved 2011-10-25.
- ↑ "3rd Moscow International Film Festival (1963)". MIFF. Retrieved 2012-11-26.
- ↑ "The 36th Academy Awards (1964) Nominees and Winners". oscars.org. Retrieved 2011-11-03.
- ↑ "The 43rd Academy Awards (1971) Nominees and Winners". oscars.org. Retrieved 2011-11-26.
- ↑ "The 47th Academy Awards (1975) Nominees and Winners". oscars.org. Retrieved 2011-12-10.
- ↑ "15th Moscow International Film Festival (1987)". MIFF. Archived from the original on January 16, 2013. Retrieved 2013-02-18.
- ↑ web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le onorificenze della Repubblica Italiana".
- ↑ web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le onorificenze della Repubblica Italiana".
Primary sources
- Fellini, Federico (1988). Comments on Film. Ed. Giovanni Grazzini. Trans. Joseph Henry. Fresno: The Press of California State University at Fresno.
- — (1993). I disegni di Fellini. Ed. Pier Marco De Santi. Roma: Editori Laterza.
- — and Damian Pettigrew (2003). I'm a Born Liar: A Fellini Lexicon. New York: Harry N. Abrams, Inc. ISBN 0-8478-3135-3
- — and Tullio Pinelli. Trip to Tulum. Trans. Stefano Gaudiano and Elizabeth Bell. New York: Catalan Communications.
- — (2015). Making a Film. Trans. Christopher Burton White. Autobiographical Essay by Italo Calvino. New York: Contra Mundum Press.
Secondary sources
- Alpert, Hollis (1988). Fellini: A Life. New York: Paragon House. ISBN 1-55778-000-5
- Bondanella, Peter (ed.)(1978). Federico Fellini: Essays in Criticism. New York: Oxford University Press. ISBN 0-19-502274-2
- — (1992). The Cinema of Federico Fellini. Princeton University Press. ISBN 0-691-00875-2
- — (2002). The Films of Federico Fellini. Cambridge: Cambridge University Press.ISBN 9780521575737.
- Burke, Frank, and M. R. Waller (2003). Federico Fellini: Contemporary Perspectives. Toronto: University of Toronto Press. ISBN 0-8020-7647-5
- Kezich, Tullio (2006). Federico Fellini: His Life and Work. New York: Faber and Faber. ISBN 978-0-571-21168-5
- Miller, D. A. (2008). 8½. Hampshire: Palgrave Macmillan.
Further reading
- Angelucci, Gianfranco (2014). Giulietta Masina, attrice e sposa di Federico Fellini (Ill., 200 pp.). Roma: Edizioni Sabinae - Centro Sperimentale di Cinematografia.
- Arpa, Angelo (2010). La dolce vita di Federico Fellini. Roma: Edizioni Sabinae.
- Bertozzi, Marco, Giuseppe Ricci, and Simone Casavecchia (eds.)(2002–2004). BiblioFellini. 3 vols. Rimini: Fondazione Federico Fellini.
- Betti, Liliana (1979). Fellini: An Intimate Portrait. Boston: Little, Brown & Co.
- Bondanella, Peter (ed.)(1978). Federico Fellini: Essays in Criticism. New York: Oxford University Press.
- Cianfarani, Carmine (ed.) (1985). Federico Fellini: Leone d'Oro, Venezia 1985. Rome: Anica.
- Fellini, Federico (2008). The Book of Dreams. New York: Rizzoli. ISBN 0847831353.
- Merlino, Benito (2007). Fellini. Paris: Gallimard.ISBN 9782070335084.
- Minuz, Andrea (2015, translation by Marcus Perryman). Political Fellini: Journey to the End of Italy . Berghahn Books.
- Panicelli, Ida, and Antonella Soldaini (ed.)(1995). Fellini: Costumes and Fashion. Milan: Edizioni Charta. ISBN 88-86158-82-3.
- Perugini, Simone (2009). Nino Rota e le musiche per il Casanova di Federico Fellini. Roma: Edizioni Sabinae.
- Rohdie, Sam (2002). Fellini Lexicon. London: BFI Publishing.
- Scolari, Giovanni (2009). L'Italia di fellini. Roma: Edizioni Sabinae.
- Tornabuoni, Lietta (1995). Federico Fellini. Preface Martin Scorsese. New York: Rizzoli.
- Walter, Eugene (2002). Milking the Moon: A Southerner's Story of Life on This Planet. Ed. Katherine Clark. New York: Three Rivers Press. ISBN 0-609-80965-2.
External links
|Wikimedia Commons has media related to Federico Fellini.
|Wikiquote has quotations related to: Federico Fellini
- Fellini Foundation Official Rimini web site (in Italian)
- Fondation Fellini pour le cinéma Swiss web site (in French)
- Federico Fellini at the Internet Movie Database
- Federico Fellini at the TCM Movie Database
- Works by or about Federico Fellini in libraries (WorldCat catalog)


text:
Textual folder
Papers of John F. Kennedy. Pre-Presidential Papers. Presidential Campaign Files, 1960
This folder contains press releases concerning the 1960 presidential campaign, Africa, agriculture, civil rights, economic growth, education, foreign policy, the minimum wage, organized crime, Poland, social security, urban renewal, and youth. Also included in this folder is Senator John F. Kennedy's tour schedule for Illinois, Minnesota, and Missouri.


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Accessibility Tools Framework (ACTF)
The Accessibility Tools Framework (ACTF) is a subproject of the Eclipse Technology Project.
ACTF is a framework that serves as an extensible infrastructure upon which developers can build a variety of utilities that help to evaluate and enhance the accessibility of applications and content for people with disabilities. A collection of example utilities will also be provided which were created on top of the framework such as compliance validation tools, assistive technology simulation applications, usability visualization tools, unit-testing utilities, and alternative accessible interfaces for applications. The ACTF componentry and the utilities will be integrated into a single tooling environment on top of the Eclipse framework. The framework components will function cooperatively with each other and with other Eclipse projects to provide a comprehensive development environment for creating accessible applications and content.
For additional details about the ACTF project, please visit the project proposal page.
Release 1.5 (Oxygen) is now available!
ACTF 1.5 including Visualization SDK is now available. Please visit downloads page and get ACTF components!
Join the Project
You can join the project, subscribe to the mailing-list, and discuss project issues in the newsgroup. We would like to hear from you!