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Świętość i grzech w wybranych filmach Federico Felliniego

100%
Ziółkowska-Kurczuk N.
Roczniki Nauk Społecznych
|
2023
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vol. 51
|
issue 4
83-96
EN
The subject of this article is the search for Christian themes presented in non-obvious ways in selected films of Federico Fellini. The analyzed films Nights of Cabiria, Rome and Sweet Life are united by the social space of Rome, marked by both the stigma of ancient culture and the Vatican, as the seat of the ecclesiastical state. The films are also tied together by the final portrait of the heroines, which has the character of a meta-linguistic personal gesture made by the director. The paintings differ in narrative style and structure, but all of them raise questions about moral principles and question or even challenge religious and cultural values in search of deeper meaning. Rome appears as a modern city of sin (the biblical Sodom and Gomorrah), where holiness and purity are increasingly difficult to find.
PL
Przedmiotem artykułu jest poszukiwanie wątków chrześcijańskich obecnych w nieoczywisty sposób w wybranych filmach Federico Felliniego. Analizowane filmy Noce Cabirii, Rzym i Słodkie życie łączy przestrzeń społeczna Rzymu, naznaczonego zarówno piętnem antycznej kultury, jak i Watykanu, jako siedziby państwa kościelnego. Filmy spaja też finałowe portretowe ujęcie bohaterek, mające charakter metajęzykowego osobistego gestu reżysera. Omawiane obrazy różnią się sposobem narracji i strukturą, ale wszystkie stawiają pytania o zasady moralne i podają w wątpliwość, a nawet kwestionują wartości religijne i kulturowe, poszukując głębszego sensu. Rzym jawi się jako współczesne miasto grzechu (biblijna Sodoma i Gomora), gdzie świętość i czystość coraz trudniej odnaleźć.
2

I rumori di fondo: alterità e forme di conoscenza da Il poema dei lunatici a La voce della luna

85%
Martelli M.
Romanica Wratislaviensia
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2013
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vol. 60
113 – 121
EN
The study suggests an analysis of the transfer from the novel of Ermanno Cavazzoni, Il poema dei lunatici, into the Federico Fellini’s last film, La voce della luna, and shows how the film receives and develops the narrative pathways of the book. Particularly, the essay focuses on the topics of knowledge processes and cultural otherness of characters to remark, considering Fellini’s way of dealing with adaptation, how the rewriting practice interprets and deepens the basic themes of novel.
3
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Fellini-Roma : sur les bords du Léthé. Un usage fellinien de la métalepse

85%
Tubman-Mary A.
Academic Journal of Modern Philology
|
2021
|
issue 11
187-198
EN
In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of the subway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. During the sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the world of the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures who were about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the souls of the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living. The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But rather than a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main one could be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also an ever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewal of Rome which is shown.
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