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Italian filmmaker
OMRI
(1920-01-20)20 January 1920
Rimini, Kingdom of Italy
31 October 1993(1993-10-31) (aged 73)
Rome, Italian Republic
La Strada (1954)
Nights of Cabiria (1957)
La Dolce Vita (1960)
 (1963)
"Toby Dammit" from Spirits of the Dead (1968)
Giulietta Masina
Federico Fellini, (Italian: [fede'ri:ko fel'li:ni]; 20 January 1920 - 31 October 1993) was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film  as the 10th-greatest film.
For La Dolce Vita Fellini won the Palme d'Or, was nominated for twelve Academy Awards, and won four in the category of Best Foreign Language Film, the most for any director in the history of the Academy. He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Juliet of the Spirits (1967), the "Toby Dammit" segment of Spirits of the Dead (1968), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976).
Rimini (1920-1938)
Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. On 25 January, at the San Nicolò church he was baptized Federico Domenico Marcello Fellini.[1] His father, Urbano Fellini (1894-1956), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida Barbiani (1896-1984), came from a bourgeois 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.[2] 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 two siblings: Riccardo (1921-1991), a documentary director for RAI Television, 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.)[3] 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.[4]
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),  (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.[5]
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. According to a biographer, Fellini found school "exasperating"[6] and, in one year, had 67 absences.[7] 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".[8] 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?[9] Described as "the determining moment in Fellini's life",[10] 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.[11]
Career and later life
Early screenplays (1940-1943)
Federico Fellini during the 1950s
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 Britain 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.[12] In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego.[13]
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.
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.[14]
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".[15] 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".[16]
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 11 days later on 2 April 1945.[17] The tragedy had enduring emotional and artistic repercussions.[18]
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, and proposed he contribute gags and dialogue for the script. Aware of Fellini's reputation as Aldo Fabrizi's "creative muse",[19] 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.[20] 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)
Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952
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.[21] 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".[22] 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)
Cinecittà - Teatro 5, Fellini's favorite studio.[23]
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.[24] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.[24]
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,[25] 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).[26] 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 miserably at the 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. Set in a mental institution for women, the project was abandoned when financial backers considered the subject had no potential.[28]
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.[29]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.[30]
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.[31] 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.[32] 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.[33]
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,[34] 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.[35] 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.[36] 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.[37]
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) and experimented with LSD.[38] Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[39] 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".[40] 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  (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980).[41] Other key influences on his work include Luis Buñuel.[a]Charlie Chaplin,[b]Sergei Eisenstein,[c]Buster Keaton,[42]Laurel and Hardy,[42] the Marx Brothers,[42] and Roberto Rossellini.[d]
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 second 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.[45]
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."[46] Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film",[47] 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 , a self-referential title referring principally (but not exclusively)[48] 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.[49] 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 , 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".[50] The self-mirroring structure makes the entire film inseparable from its reflecting construction.
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".[51] 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.[52] Nominated for four Oscars,  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[53] under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada.[54] 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.[55]
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)
Fellini & Bruno Zanin on the set of Amarcord in 1973
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.[56] 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."[57] 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."[58]
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."[59] 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,[60] 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.[61] Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma.[62] 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."[63]
Late films and projects (1981-1990)
Italian President Sandro Pertini receiving a David di Donatello Award from Fellini in 1985
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.[64] A gifted caricaturist, he found much of the inspiration for his sketches 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.[65]
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.[3]
Fellini rewards Marcello Mastroianni with the Golden Lion Honorary Award at the 47th Venice International Film Festival
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.[66] 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,[67]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  the best European film of all time.[68]
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.[69] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.[70] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.[71]
Fellini won the Praemium Imperiale, an international prize in the visual arts given by the Japan Art Association in 1990.[72]
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".[73] Described as the "Maestro's spiritual testament" by his biographer Tullio Kezich,[74] 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 Zürich for an angioplasty on his femoral artery[75] 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.[76]
Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier,[77] a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people.[78] At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.[79]
Five months later, on 23 March 1994, 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 at the main entrance to the Cemetery of Rimini. The Federico Fellini Airport in Rimini is named in his honour.
Fellini was raised in a Roman Catholic family and considered himself a Catholic, but avoided formal activity in the Catholic Church. Fellini's films include Catholic themes; some celebrate Catholic teachings, while others criticize or ridicule church dogma.[80]
While Fellini was for the most part indifferent to politics,[81] he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being".[82] In a 1966 interview, he said, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics."[83]
Despite various famous Italian actors favouring the Communists, Fellini was not left-wing. It is rumored that he supported Christian Democracy (DC).[84] Bondanella writes that DC "was far too aligned with an extremely conservative and even reactionary pre-Vatican II church to suit Fellini's tastes",[82] but Fellini opposed the '68 Movement and befriended Giulio Andreotti.[85]
Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred,[86] Fellini rarely expressed political views in public and never directed an overtly political film. He directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party (PRI).[87] His slogan "Non si interrompe un'emozione" (Don't interrupt an emotion) was directed against the excessive use of TV advertisements. The Democratic Party of the Left also used the slogan in the referendums of 1995.[88]
Influence and legacy
Dedicatory plaque to Fellini on Via Veneto, Rome:
To Federico Fellini, who made Via Veneto the stage for the "Sweet Life" - SPQR - January 20, 1995
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".[10]La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).[89]
Contemporary filmmakers such as Tim Burton,[90]Terry Gilliam,[91]Emir Kusturica,[92] and David Lynch[93] have cited Fellini's influence on their work.
Polish director Wojciech Has, whose two best-received 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".[94]
I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced 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 (1982), among many others.[95] When the American magazine Cinema asked Stanley Kubrick in 1963 to name his ten favorite films, he ranked I Vitelloni number one.[96]
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.[97]
 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),  Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway musical Nine (Maury Yeston and Arthur Kopit, 1982).[98]Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini inspired by .[99]
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.[100] American singer Lana Del Rey has cited Fellini as an influence.[101] His work influenced the American TV shows Northern Exposure and Third Rock from the Sun.[102]Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini.[103]
Various film-related material and personal papers of Fellini are in the Wesleyan University Cinema Archives, to which scholars and media experts have full access.[104] 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 .[105]
In 2015, the Blue Devils Drum and Bugle Corps of Concord, California, performed "Felliniesque", a show themed around Fellini's work, with which they won a record 16th Drum Corps International World Class championship with a record score of 99.650.[106] That same year, the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works and first developed with Demian Gregory and Tommaso Rossellini, including his unpublished drawings and writings.[107]
As a director
1950 Variety Lights co-credited with Alberto Lattuada
1952 The White Sheik
1953 I vitelloni
1953 Love in the City Segment: Un'agenzia matrimoniale
1954 La strada
1955 Il bidone
1957 Nights of Cabiria
1962 Boccaccio '70 Segment: Le tentazioni del Dottor Antonio
1963
1965 Juliet of the Spirits
1968 Spirits of the Dead Segment: Toby Dammit
1969 Fellini: A Director's Notebook
1969 Fellini Satyricon
1970 I Clowns
1973 Amarcord
1976 Fellini's Casanova
1978 Orchestra Rehearsal
1980 City of Women
1983 And the Ship Sails On
1986 Ginger and Fred
1987 Intervista
1990 The Voice of the Moon
As a screenwriter
1942 Knights of the Desert
1942 Before the Postman
1943 The Peddler and the Lady
1943 L'ultima carrozzella Co-scriptwriter
1945 Tutta la città canta Co-screenwriter and story author
1945 Rome, Open City Co-scriptwriter
1946 Paisà Co-scriptwriter
1947 Il delitto di Giovanni Episcopo Co-scriptwriter
1948 Senza pietà Co-scriptwriter
1948 Il miracolo Co-scriptwriter
1949 Il mulino del Po Co-scriptwriter
1950 Francesco, giullare di Dio Co-scriptwriter
1950 Il Cammino della speranza Co-scriptwriter
1951 La città si difende Co-scriptwriter
1951 Persiane chiuse Co-scriptwriter
1952 Il brigante di Tacca del Lupo Co-scriptwriter
1958 Fortunella Co-scriptwriter
1979 Lovers and Liars Fellini not credited
TV commercial for Campari Soda (1984)
TV commercial for Barilla pasta (1984)
Three TV commercials for Banca di Roma (1992)
1946 Best Adapted Screenplay Rome, Open City Nominated Shared with Sergio Amidei
1949 Best Original Screenplay Paisan Nominated Shared with V. Hayes, Sergio Amidei,
Marcello Pagliero, and Roberto Rossellini
1956 La Strada Nominated
Best Foreign Language Film Won Shared with Tullio Pinelli
1957 Nights of Cabiria Won
Best Original Screenplay I Vitelloni Nominated Ennio Flaiano and Tullio Pinelli
1961 Best Original Screenplay La Dolce Vita Nominated Ennio Flaiano, Tullio Pinelli & Brunello Rondi
Best Director Nominated
1963 Best Foreign Language Film  Won
Best Original Screenplay Nominated Ennio Flaiano, Tullio Pinelli & Brunello Rondi
1970 Best Director Fellini Satyricon Nominated
1974 Best Foreign Language Film Amarcord Won
Best Original Screenplay Nominated Tonino Guerra
1976 Best Adapted Screenplay Fellini's Casanova Nominated Bernardino Zapponi
1992 Academy Honorary Award Himself Won
1953 Venice Film Festival Silver Lion I Vitelloni Won
Golden Lion Nominated
1954 Venice Film Festival Silver Lion La strada Won
Honorable Mention Won
1956 New York Film Critics Award Best Foreign Film Won
1956 British Academy Film Awards Best Film from any Source Yes
1960 Festival de Cannes Palme d'Or La Dolce Vita Won
1960 British Academy Film Awards Best Film from any Source Nominated
1960 New York Film Critics Circle Best Foreign Language Film Won
1960 National Board of Review Best Foreign Language Film Won
1963 Italian National Syndicate of Film Journalists Best Director Nominated
1965 Venice Film Festival Golden Lion Juliet of the Spirits Nominated
1965 New York Film Critics Best Foreign Film Won
1965 National Board of Review Best Foreign Language Story Won
1965 Golden Globe Award Best Foreign Language Film Won
1969 Venice Film Festival Pasinetti Award Fellini Satyricon Won
1969 Golden Globe Award Best Foreign Language Film Nominated
1970 New York Film Critics Circle Best Director Nominated
1970 Venice Film Festival Pasinetti Award I Clowns Won
1970 National Board of Review Top Foreign Films Won
1975 Golden Globe Awards Best Foreign Film Amarcord Nominated
1974 New York Film Critics Best Film Won
Best Direction Won
Best Foreign Language Film Won
1987 César Awards Best Foreign Film Intervista Nominated
1987 Festival de Cannes Special 40th Anniversary Prize Won
1987 Moscow International Film Festival Golden Prize Won
1964 Order of Merit of the Italian Republic's Grande Ufficiale OMRI[108]
1974 Cannes Film Festival's Lifetime Achievement Award
1985 Venice Film Festival's Lifetime Achievement
1985 Film Society of Lincoln Center Award for Cinematic Achievement
1987 Order of Merit of the Italian Republic Cavaliere di Gran Croce OMRI[109]
1989 European Film Awards Lifetime Achievement Award
1990 Japan Art Association's Praemium Imperiale
1993 Academy Awards for Lifetime Achievement
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.
^ Fellini & Pettigrew 2003, p. 87. Buñuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular kinds of films.
^ Stubbs 2006, pp. 152-153. 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). 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.
^ Bondanella 1978, p. 167. 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).
^ Fellini & Pettigrew 2003, pp. 17-18. 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. 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".
^ Autuori, Beppe (30 October 2017). "Ma la casa mia n'dov'è?". Il Ponte (in Italian).
^ Alpert 1988, p. 16.
^ a b Bondanella 2002, p. 7.
^ Burke & Waller 2003, p. 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
^ Kezich 2006, p. 17.
^ Giannini, Rita. "Amarcord In Rimini with Federico Fellini" (PDF).
^ Kezich, 157. Cf. filmed interview with Luigi 'Titta' Benzi in Fellini: I'm a Born Liar (2003).
^ Kezich 2006, p. 404.
^ "Our flexible giant". Cinecittà Studios. Archived from the original on 21 September 2013. Retrieved 2013.
^ a b Kezich 2006, p. 158.
^ Fava & Viganò 1995, p. 79.
^ Kezich 2006, pp. 168-169.
^ Liehm 1984, p. 236.
^ Cannes Film Festival: Best Actress, Giulietta Masina; OCIC Award - Special Mention, Federico Fellini; 1957. "Festival de Cannes: Nights of Cabiria". festival-cannes.com. Retrieved 2009.
^ Alpert 1988, p. 122.
^ Duthel 2018, p. ?.
^ "FELLINI E L' LSD - sostanze.info". www.sostanze.info.
^ Bondanella 1992, pp. 151-154.
^ a b c Bondanella 1992, p. 8.
^ Bondanella 2002, p. 96.
^ Affron, 227
^ Kezich, p. 234 and Affron, pp. 3-4
^ Fellini 1988, pp. 161-162.
^ A synthetic derivative "fashioned to produce the same effects as the hallucinogenic mushrooms used by Mexican tribes". Kezich, 255
^ Fellini & Pettigrew 2003, p. 91.
^ Bondanella 1992, p. 192.
^ 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.
^ Burke & Waller 2003, p. 16.
^ Segrave 2004, p. 179.
^ Kezich, p. 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 (22 September 2003), p. 32
^ Kezich, "Forward" in I'm a Born Liar: A Fellini Lexicon, 5. Also cf. Kezich, p. 388
^ "Federico Fellini, Film Visionary, Is Dead at 73". archive.nytimes.com. Retrieved 2018.
^ Federico Fellini, Film Visionary, Is Dead at 73, nytimes.com; accessed 28 August 2017.
^ "fellini funerali - Basilica di Santa Maria degli Angeli e dei Martiri alle Terme di Diocleziano di Roma". santamariadegliangeliroma.it (in Italian).
^ Staff (2 September 2005). "The Religious Affiliation of Director Federico Fellini". Adherents.com. Retrieved 2016.
^ a b Bondanella 2002, p. 119.
^ Cardullo, Bert, ed. (2006). Federico Fellini: Interviews. Univ. Press of Mississippi. p. 63. ISBN 978-1-57806-885-2.
^ Franco Bianchini (31 October 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 (28 March 2012). "Caro Andreotti, caro Fellini l'amicizia tra due arcitaliani". La Stampa (in Italian).
^ "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). 18 March 1992.
^ Dagnino 2019, p. 39.
^ 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, p. 136
^ "Tim Burton Collective". Archived from the original on 16 June 2007.
^ Gilliam at Senses of Cinema Archived 2010-02-09 at the Wayback Machine; accessed 17 September 2008.
^ Kusturica Interview at BNET; accessed 17 September 2008.
^ City of Absurdity Quote Collection; accessed 17 September 2008.
^ Gilbert Guez, review of The Saragossa Manuscript in Le Figaro, September 1966, p. 23
^ Ciment, Michel. "Kubrick: Biographical Notes"; accessed 23 December 2009.
^ Burke 1996, p. 20.
^ 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 2008, p. 7.
^ Sciarretto, Amy (20 January 2015). "Lana Del Rey Is Working on New Music and Shared Some Hints About It". Artistdirect. Retrieved 2016.
^ "Wes Anderson Honors Fellini in a Delightful New Short Film". Slate. 12 November 2013. Retrieved 2013.
^ "Cinema Archives - Wesleyan University". wesleyan.edu.
^ Baker, Tamzin (3 November 2009). "Federico Fellini". www.blouinartinfo.com. Modern Painters. Archived from the original on 21 December 2016. Retrieved 2021.
^ Neidich, Liz (18 September 2014). "2014 DCI Champions". Halftime Magazine. Retrieved 2021.
^ "Sylvain Chomet Steps Up for The Thousand Miles, Variety.com; accessed 28 August 2017.
^ web, Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici- reparto. "Le onorificenze della Repubblica Italiana". quirinale.it. Retrieved 2017.
^ Segretariato generale della Presidenza della Repubblica-Servizio sistemi informatici-reparto. "Le onorificenze della Repubblica Italiana". Retrieved 2017.
Alpert, Hollis (1988). Fellini, a life. New York: Paragon House. ISBN 978-1-55778-000-3.
Angelucci, Gianfranco (2014). Giulietta Masina: attrice e sposa di Federico Fellini. Rom, Centro Sperimentale di Cinematografia: Edizioni Sabinae. ISBN 978-88-98623-11-2.
Arpa, Angelo (2010). Federico Fellini: La dolce vita: cronaca di una passione (1. ed.). Rome: Sabinae. ISBN 978-88-96105-56-6.
Ashough, Jamshid (2016). L'enigma di un genio: Capire il linguaggio di Federico Fellini. Pescara: Zona Franca EDizioni. ISBN 978-88-905139-4-7.
Bertozzi, Marco; Ricci, Giuseppe; Casavecchia, Simone (2002). BiblioFellini: monografie, soggetti e sceneggiature, saggi in volume (in Italian). Rome: Scuola nazionale di cinema.
Betti, Liliana (1979). Fellini: An Intimate Portrait (1st Eng. language ed.). Boston: Little, Brown. ISBN 978-0-316-09230-2.
Bondanella, Peter (1978). Federico Fellini : essays in criticism. New York: Oxford University Press. ISBN 978-0-19-502274-2.
Bondanella, Peter (1992). The Cinema of Federico Fellini. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-00875-2.
Bondanella, Peter (2002). The Films of Federico Fellini. Cambridge: Cambridge University Press. ISBN 978-0-511-06572-9.
Burke, Frank (1996). Fellini's films : from postwar to postmodern. New York: Twayne Publishers. pp. 20. ISBN 978-0-8057-3893-3.
Burke, Frank; Waller, Marguerite R. (2003). Federico Fellini: Contemporary Perspectives. Toronto, Ont.: University of Toronto Press. ISBN 978-0-8020-7647-2.
Cinfarani, Carmine. Federico Fellini: Leone d'Oro, Venezia 1985. Rome: Anica.
Dagnino, Gloria (2019). Branded entertainment and cinema: the marketisation of Italian film. London. ISBN 978-1-351-16684-3.
Duthel, Heinz (2018). Charlie Chaplin Greatest Male Screen Legend of all Time. Munich. ISBN 978-3-7427-3996-4.
Fava, Claudio G.; Viganò, Aldo (1995). I film di Federico Fellini [Federico Fellini's films] (in Italian). Gremese Editore. ISBN 978-88-7605-931-5.
Fellini, Federico (1976). Fellini on Fellini. Translated by Quigly, Isabel. Methuen. ISBN 978-0-413-33640-8.
Fellini, Federico (1988). Comments on Film. Fresno, Calif.: Press at California State University, Fresno. ISBN 978-0-912201-15-3.
Fellini, Federico; Santi, Pier Marco De (1982). I disegni di Fellini (in Italian). Laterza.
Fellini, Federico; Pettigrew, Damian (1 December 2003). I'm a born liar: a Fellini lexicon. New York, NY: Harry N. Abrams. ISBN 978-0-8109-4617-0.
Manara, Milo; Fellini, Federico (1990). Trip to Tulum: from a script for a film idea. Translated by Gaudiano, Stefano; Bell, Elizabeth. Catalán Communications. ISBN 978-0-87416-123-6.
Fellini, Federico (2015). Making a Film. Translated by Calvino, Italo; White, Christopher Burton; Betti, Liliana. New York, NY: Contra Mundum Press. ISBN 978-1-940625-09-6.
Fellini, Federico. (2008). The Book of Dreams. New York, NY: Rizzoli International. ISBN 978-0-8478-3135-7.
Kezich, Tullio (2006). Federico Fellini: His Life and Work (1st American ed.). New York: Faber and Faber. ISBN 978-0-571-21168-5.
Miller, D. A. (2008). 8 1/2 = Otto e mezzo. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 978-1-84457-231-1.
Liehm, Mira (1984). Passion and Defiance: Italian Film from 1942 to the Present. Berkeley (Calif.): University of California Press. ISBN 978-0-520-05744-9.
Merlino, Benito (2007). Fellini. Paris: Gallimard. ISBN 978-2-07-033508-4.
Minuz, Andrea (2015). Political Fellini: Journey to the End of Italy. Translated by Perryman, Marcus (English-language ed.). New York: Berghahn Books. ISBN 978-1-78238-819-7.
Panicelli, Ida; Mafai, Giulia; Delli Colli, Laura; Mazza, Samuele (1996). Fellini: Costumes and Fashion (1st English ed.). Milan: Charta. ISBN 978-88-86158-82-4.
Perugini, Simone (2009). Nino Rota e le musiche per Il Casanova di Federico Fellini (1. ed.). Rome: Sabinae. ISBN 978-88-96105-23-8.
Pettigrew, Damian (2003). I'm a born liar: a fellini lexicon. New York: Harry N. Abrams. ISBN 0-8109-4617-3.
Rohdie, Sam (2002). Fellini Lexicon. London: BFI. ISBN 978-0-85170-934-5.
Scolari, Giovanni (2008). L'Italia di Fellini (1. ed.). Rome: Sabinae. ISBN 978-88-96105-01-6.
Stubbs, John Caldwell (2006). Federico Fellini as auteur: seven aspects of his films. Carbondale: Southern Illinois University Press. ISBN 0-8093-2689-2.
Segrave, Kerry (2004). Foreign Films in America: A History. Jefferson, N.C.: McFarland & Co. ISBN 0-7864-1764-1.
Tornabuoni, Lietta (1995). Federico Fellini. New York: Rizzoli. ISBN 978-0-8478-1878-5.
Walter, Eugene (2001). Milking the Moon: A Southerner's Story of Life on This Planet (1st ed.). New York: Crown Publishers. ISBN 978-0-609-60594-3.
Fellini Official site (in English)
Fellini Foundation Official Rimini web site (in Italian)
Fondation Fellini pour le cinéma Swiss web site (in French)
Federico Fellini on IMDb
Federico Fellini at the TCM Movie Database
Works by or about Federico Fellini in libraries (WorldCat catalog)
Federico Fellini biography on Lambiek Comiclopedia
Site commemorating Fellini's 100th birthday
Federico Fellini - Amarcord
Federico Fellini Cinema
Federico Fellini Interview
Federico Fellini Portrait
Federico Fellini-Amarcord
Homage Federico Fellini
Amarcord - Federico Fellini 1973
DIRECTED BY FEDERICO FELLINI
Roma, Federico Fellini 1972
Federico Fellini e Mina
Amarcord | Federico Fellini | 1973
Read Federico Fellini PDF Free
Federico Fellini: Roma(1972)08
Herbert Hofer and Federico Fellini
Ken Russell on Federico Fellini
Federico Fellini - L'uomo dei sogni
Federico_Fellini


I am so happy and thrilled to be part of Conie Fong Design Team. Her digital images are cute and unique and you can play coloring them. I came across her images through Kit and Clowder Facebook page and also her page Conie Fong Art & Design Group.
She has challenges every month and you can win free digis. So do check her page and participate in the challenges. You can check her digi stamps at her Etsy shop.
Today I want to share a card I made using one of her stamps - Bouquet Benny.
I have colored the image with Copic markers and the flowers are handmade.
Closer look of the flowers.
Hello... it's so lovely to see you have shared one of your gorgeous cards with us. Thank you for entering your card into our 'B is for…' Challenge. You have coloured the little boy is lovely and also love the shape of your Bow. Good luck in the draw and hope you will come back again soon.
Thank you so much Diane. Hugs.


text:
#514 - Chemicals Linked to Declining Male Reproductive Health, 02-Oct-1996
A lengthy new report from the National Institute of Environmental
Health Sciences [NIEHS], a federal agency, describes serious
deterioration of the male reproductive system in many regions of the
world and suggests it may be caused by environmental chemicals that
interfere with hormones.[1] The report begins by describing negative
trends in men's reproductive health, then describes similar findings
among wildlife, and finally reviews evidence that certain chemicals
could cause the observed problems. The report ends by describing a
research agenda that would help scientists understand these problems
better and would provide additional support for public health officials
taking action to protect future generations. Here is part of the
summary provided by the authors of the new study:
"Male reproductive health has deteriorated in many countries during the
last few decades. In the 1990s, declining semen quality has been
reported from Belgium, Denmark, France, and Great Britain. The
incidence of testicular cancer has increased during the same time.
Incidences of hypospadias [a birth defect of the penis] and
cryptorchidism [undescended testicles] also appear to be increasing.
Similar reproductive problems occur in many wildlife species. There are
marked geographic differences in the prevalence of male reproductive
disorders. While the reasons for these differences are currently
unknown, both clinical and laboratory research suggest that the adverse
changes may be inter-related and have a common origin in fetal life or
childhood." The authors say they strongly suspect that the common
origin is exposure to environmental chemicals (pesticides, plastics,
detergents, and others) that interfere with hormones.
The authors emphasize that chemicals that interfere with hormones may
not be the ONLY cause of the recent decline in male reproductive
health. Other chemicals may poison men by a mechanism that does not
involve hormones: "For example," they say, "some chemicals that are now
known as occupational toxicants were shown to affect the semen quality
of the workers through a toxic action on the gonads, without any
apparent estrogenic effects." Estrogen is the main female sex hormone.
[For a superb, clear, down-to-earth discussion of both male and female
reproductive health, see GENERATIONS AT RISK; HOW ENVIRONMENTAL TOXINS
MAY AFFECT REPRODUCTIVE HEALTH IN MASSACHUSETTS from Greater Boston
Physicians for Social Responsibility, which we will review in the next
few weeks. Anyone concerned about these problems should own a copy of
GENERATIONS AT RISK.[2]]
Sperm Quality
The authors review recent studies showing declining sperm quantity and
quality among men in many countries, and a few studies that show no
such declines. In general, they see declines in urban areas and no
declines in rural areas. Rural France and Finland, in particular, seem
not to be experiencing a sperm decline. Still, the authors summarize
the situation as "decreasing sperm quality worldwide" (pg. 743) and
they see an urgent need for understanding the causes: "Follow-up of
semen quality is very important, since the sperm concentration has
decreased drastically during the last two generations and the declining
trend appears to be continuing." (pg. 760)
Here, too, there are geographical differences. Increases in testicular
cancer are apparent in the U.S., England and Wales, Scotland, the
Nordic and Baltic countries, Australia, and New Zealand. Finland seems
to be an exception. The authors suggest that good, steady sperm quality
and the low testicular cancer rate in Finland, a mostly rural country,
may be somehow linked. Within countries there are differences: whites
in the U.S. are three times as susceptible to testicular cancer as are
African Americans.
Conclusion: "...it is obvious that there is a worldwide trend toward an
increased incidence of testicular cancer...," the authors of the report
conclude. (pg. 743)
Conclusion: "Other disorders of the male reproductive tract may also be
increasing in incidence, with several European countries reporting a
progressive rise in hypospadias [a birth defect of the penis]... and an
apparently emerging trend toward an increasing incidence of testicular
maldescent [undescended testicles]." (pg. 768)
Similarly, male reproductive problems can be observed among wildlife.
Gastropods (periwinkles and whelks), best known for the sea shells they
live inside, worldwide have shown sex reversal because of exposure to a
compound of the metal tin. Tributyltin, widely used in paint to keep
seaweed and barnacles from growing on the bottoms of boats and ships,
is now known to change male gastropods into female gastropods. (pg.
Alligators and turtles have had their sex lives disrupted by exposure
to pesticides in Florida and in laboratory experiments. The sex of
turtles is normally determined by the temperature at which their eggs
incubate. Eggs incubated at 26 degrees Celsius (78.8 Fahrenheit) turn
out 100% male. However, eggs incubated at male-producing temperatures
but painted with PCBs produce female turtles instead. (pg. 749) PCBs
are industrial chemicals, banned in this country in 1976, but still
found everywhere in the environment. The same PCB-induced sex reversal
can be seen in alligator eggs. Furthermore, alligators in pesticide-
contaminated lakes in Florida have such small penises that they are
sexually incompetent --a result of exposure to hormone-disrupting
pesticides. (pg. 749)
Male fish exposed to hormone-disrupting chemicals discharged by sewage
treatment plants begin to produce a protein called vitellogenin, which
is normally only produced by female fish as a step toward making eggs.
Male fish normally produce no vitellogenin but in England and Wales
male fish produce vitellogenin when they are caged in river waters
below sewage treatment plants. (pg. 750) The river water has become
estrogenic.
Florida panthers, which get a large dose of hormone-disrupting
chemicals by eating raccoons (who get these chemicals from the fish
they eat), have undescended testicles, poor sperm production, and other
reproductive problems. (pg. 751)
The NIEHS report then reviews the experience of male children whose
mothers were exposed to DES (diethylstilbestrol). DES is a synthetic
sex hormone. Between the late 1940s and the early 1970s, DES was given
to 5 million pregnant women to prevent abortion and pregnancy
complications. The sons of these women thus became a "natural
experiment," offering an opportunity to study the effects of human
exposure to hormone-disrupting chemicals while in the womb. Here is the
authors' summary: "Exposure to DES during pregnancy results in
increased risk for several male reproductive disorders, such as
cryptorchidism [undescended testicles], urethral abnormalities
[including hypospadias, pg. 753], epididymal cysts [cysts in the sperm
reservoir of the testicle], and testicular hypoplasia [lack of growth
of the testicles, i.e., small testicles]. In addition, the semen
quality of DES sons is worse than that of controls. Incidence of
testicular cancer is approximately doubled among DES sons compared to
the general population but whether this represents a true increase of
the cancer risk is equivocal [i.e., not certain]." (pg. 754)
In sum, the authors say, "Reproduction is a major concern because
disturbances of this process rapidly threaten populations as a whole.
The male reproductive system is very sensitive to the influence of an
excess of estrogen; therefore, estrogenlike effects in the environment
are a primary suspect for causing the increased reproductive disorders
of men and wildlife animals." (pg. 760)
And: "Male reproductive health has received remarkably little attention
considering that subfertility affects 5% or more of men and that
prostatic hypertrophy [enlargement of the prostate gland] or cancer is
a major problem for older men. It is now evident that several aspects
of male reproductive health have changed dramatically for the worse
over the past 30 to 50 years. The most fundamental change has been the
striking decline in sperm counts in the ejaculate of normal men; recent
evidence from Paris indicates that this decrease amounts to about 2%
per year over the last two decades. The result is that many otherwise
normal men now have sperm counts so low that their fertility is likely
to be impaired....
"These observations suggest that male reproductive health has declined
progressively since the Second World War as a result of changes in
environmental or lifestyle factors. While the etiologies [causes]
underlying these apparent changes are currently unclear, both clinical
[i.e., human] and laboratory [i.e., animal] research suggests that all
of the described changes in male reproductive health appear
interrelated and may have a common origin in fetal life or childhood.
This means that the increase in some of the disorders seen today
originated 20 to 40 years ago, and the prevalence of such defects in
male babies born today will not become manifest for another 20 to 40
years or more.
"Trends in the reproductive health of species other than man also raise
the possibility of environmental factors as partial etiologic [causal]
contributions in a decline noted in male reproductive health of
wildlife." The report then mentions the Florida panther, the male fish
in England and Wales producing vitellogenin, "fish-eating birds in the
United States" whose "male hatchlings were apparently feminized," and
the male turtles turning into female turtles because of PCB exposure of
their eggs in the laboratory. And: "A recent report of lactating male
fruit bats suggested that the males were, in some way, exposed to a
female sex hormone." In sum, "Taken together, this growing body of
evidence suggests that environmental factors that resemble female sex
hormones may be having an adverse effect on the reproductive capacity
and well being of diverse species...."
"The reproductive health trends in men are consistent with this
hypothesis. While exposure levels to estrogenic chemicals are not at
all well known for humans, the large number of chemicals in numerous
environmental categories suggests adequate availability. For example,
environmental chemicals reported to be estrogenic include, but are not
limited to, some ubiquitous [i.e., found everywhere] chlorinated
hydrocarbons, such as PCBs and DDT; some products of detergent and
surfactant manufacture, such as the alkylphenols; and some products
released from plastics such as bisphenol-A and some phthalates. Many
other compounds in our natural and synthetic [human-created]
environment demonstrate estrogenic activities and more are being
discovered as the search continues." (pgs. 768-769)
[1] Jorma Toppari and others, "Male Reproductive Health and
Environmental Xenoestrogens," ENVIRONMENTAL HEALTH PERSPECTIVES Vol.
104 SUPPLEMENT 4 (August 1996), pgs. 741-803. This new report is a
revised and abridged version of a report originally commissioned by the
Danish Environmental Protection Agency in Copenhagen; see REHW #438.
[2] Ted Schettler, Gina Solomon, Paul Burns, and Maria Valenti,
GENERATIONS AT RISK: HOW ENVIRONMENTAL TOXINS MAY AFFECT REPRODUCTIVE
HEALTH IN MASSACHUSETTS (Cambridge, Massachusetts: Greater Boston
Physicians for Social Responsibility [11 Garden Street, Cambridge,
Mass. 02138; telephone (617) 497-7440; fax: (617) 876-4277; E-mail:
psrmabo@igc.apc.org], 1996). Available for $11.50.
In the electronic edition of RACHEL'S #513, we wrote: "One set of
nuclear long johns contained enough plutonium to provide one trillion
(one million million million) 'maximum permissible lung burdens' of
plutonium..." It should have said "...one trillion (one million
million)..."
Descriptor terms: niehs; male reproductive health; testicular cancer;
hormone disrupters; wildlife; sperm count; sperm quality; hypospadias;
cryptorchidism; undescended testicles; birth defects; teratogens;
pesticides; plastics; detergents; estrogen; france; finland;
gastropods; tributyltin; alligators; turtles; pcbs; penis size;
vitellogenin; florida panthers; des; prostate cancer; children;
alkylphenols; phthalates; bis-phenol-A; DDT; organochlorines;

redpajama_set_name: RedPajamaCommonCrawl


On this episode i was joined by Alam and Tyron as we talked about what is better mx5 or 124? We discussed seeing a Delta Intergrale and get some random questions from our listeners!
Don't forget to subscribe rate and review.


are you up for trading (not selling) a copy of the DVD?
-- yakov grinberg (yakov@griphus.net), March 06, 2003.
Sure. What have you got to trade? I've got Mission Infinite done except for the cover artwork. Operative Terminus will be done in a few weeks.
-- M-ACE (m-ace@centralwow.com), March 06, 2003.
A bunch of people have been emailing me asking to sell or trade the Aeon Flux DVD's: Mission Infinite and Operative Terminus I'm creating. Most of the offered trade items I already have. I'm a little weary selling the DVD's because of the whole legality issue. I'm interested in people's opinions on the subject.
If I were to sell these DVD's, it would be as inexpensive as possible. Just enough to cover the DVD-R, case, and print work. So around $6.00. Then attach the shipping to that. Also, I would add your name to the DVD menu itself to prevent you Bambara's from sell the DVD's on eBay for $50. If MTV decided to release the whole series on DVD, I would stop selling the DVD's. If MTV sent me a cease and desist order, I would stop selling the DVD's.
So, is it sell or not to sell?
-- M-ACE (m-ace@centralwow.com), March 08, 2003.
well, I'd certainly go in on such a thing.. and I own all the original VHS tapes. And have most of the eps on my comp.
But I'd love it in high quality on DVD.
-- skye (skyknyt@aol.com), March 08, 2003.
how about just have people mail you the supplies and return postage, that way no money has to be exchanged.
-- yakov grinberg (yakov@griphus.net), March 09, 2003.
Hey, im new here, i just kinda got back into Aeon Flux, i would do just about anything to get my hands on some aeon flux episodes, if i sent a DVD-R and return postage or whatever you think you really could make a copy. I dont have broadband or anthing so im pretty much screwed getting them any other way. But, this seems like a community type thing, and i could see how me being new and this being vaguely illegal would rule me out.
-- Karl Harmon (Faaipdeoiad11@aol.com), March 10, 2003.
Could you go into more detail concerning the techniques involved in converting VHS to DVD? I have all of the vhs tapes myself, and I agree that a less "fugitive" means of storing the video would be very nice indeed. Are the files you are producing large enough to require the use of DVD recordable media, or would it be possible to go a VCD route also?
-- Todd Nelson (raininmysoup@hotmail.com), March 11, 2003.
I would definitely be interested. Being a die hard Aeon Flux fan, I already have the VHS. But the images are starting to degrade (probably from too many viewings). Please contact me if you ever decide to make it available to fellow devotees of Aeon.
-- Ian Lin (ianlin@msn.com), March 11, 2003.
I wouldn't care if people send me DVD-R's and the return postage. I just figured it would be more for shipping to send it both ways rather than one way.
Also, if you did send me DVD-R's, I can't guarantee it will burn correctly with my DVD burner. If I use my own media, if I get a bad burn, I won't charge you for it. Again, if you send me the money, I'll have sticker art for the DVD's and the DVD will be in an actual DVD movie case with the cover art that was on the VHS tapes. I figure $15.00 for both AF: Mission Infinite and AF: Operative Terminus which will include shipping.
But in any case, I'll except both ways.
To answer Mr. Nelson's question on VHS to DVD, I'm using a Pinnacle Systems capture card and a Super VHS player using monster cables for video and audio. I wanted the highest quality possible so I set my card to capture at maximum quality which is about 1 GB for every 30 minutes at 720x480 pixels (DVD standard). I'm compressing it to standard MPEG2 DVD format and converting the audio from PCM to AC3 Dolby Digital. I did this so I can view it on my DVD Player instead of just on my computer. My main reason for doing this is to get the episodes on a digital format so they won't degrade has fast as a VHS tape.
If you have any other questions just post them here or email me.
-- M-ACE (m-ace@centralwow.com), March 11, 2003.
I've done the same with an almost identical setup (DV 500+ analog to DV bridge capture / Adobe Premiere + After Effects and JVC S9911U). Think about the more popular "Beavis and Butthead" being sold by Time Life. 80+ episodes for $60 on DVD. That's damned cheap for licensing, no matter how you slice it. I'll bet they or Anchor Bay could pick up "Aeon", as well as "Liquid Television", and maybe "Daria" for a similar cheap deal.
So the big question isn't "Why doesn't Mtv release Aeon to DVD?", it's probably more "Why hasn't someone licensed Aeon for DVD?".
-- Steve Foster (morpheus@foster-vinard.com), March 17, 2003.


text:
African American real estate agent wins $100,000 jury verdict against Alabama real estate company
A federal jury in Alabama awarded an African American real estate agent $100,000 in compensatory and punitive damages in April. The award was against Montgomery real estate company Lowder Realty in a racial discrimination case. The agent, P.R. Hall, charged the company with steering business to real estate agents based on race. Specifically, she accused Lowder of matching the race of customers with the race of agents, and providing African American agents business only in predominantly African American neighborhoods.
During her employment with Lowder Realty, Hall asserted that Lowder only referred clients to her who were African American. Lowder Realty had divided Montgomery into "Areas." "Area 5" was a predominantly African American part of Montgomery. Hall repeatedly asked for referrals outside Area 5 but never received them. Employees at Lowder Realty began to refer to Hall as the "expert in [Area 5]."
Agent terminated despite receiving "Top Sales Associate" three years in a row
Lowder employees also received referrals for persons who were relocating to the Montgomery area. Despite her qualifications, including three "Top Sales Associate" awards in 1994, 1995, and 1996, Hall only received two "relocation referrals" during her employment at Lowder Realty. Both referrals were African Americans. When Hall received one referral, Relocation Director Denise Haviland told her that the referral "need[ed] to work with a strong, black person, because her husband was a judge with the EEOC" and that she was "a strong black woman."
Hall complained to Haviland and Lowder managers and executives that she was only receiving African American clients. She told the managers and executives that she felt there was a perception within the company that she could only sell homes in African American neighborhoods. After Hall complained to Haviland, Hall never received another referral. After Hall complained to Lowder General Manager John Dorough, Lowder President Jerry Wills, and Colonial Company President James Lowder, she was fired. (Colonial Company is the parent corporation of Lowder Realty.)
African American clients treated poorly
Additionally, Hall asserted that Lowder terminated her at least in part because she complained about the poor treatment that three of Lowder Realty's African American customers received. An agent from Lowder Realty allegedly told African American clients not to look in a particular neighborhood, because they "couldn't afford it," even though the agent knew nothing of the clients' finances.
An agent told another African American client that she was "ruining the integrity of the neighborhood" after she purchased a home in a predominantly white subdivision. Little or no disciplinary action was taken against the agents after Hall complained to management.
According to Leslie Proll of the NAACP Legal Defense & Educational Fund, Inc., who represented Hall, the case carries significant precedent. "Real estate companies play a large role in perpetuating housing segregation. This case challenged the presumption held by many companies that black agents should work only with black customers and only in black areas." Second, the verdict "signals to real estate agents that they are protected by the Fair Housing Act from racial practices that limit their own opportunities as well as those of their customers."
Agent: "Justice prevailed."
Hall added, "I've always tried to serve all the communities of Montgomery. I'm grateful the jury recognized that Lowder frustrated those efforts, and that justice prevailed." The lawsuit was the first fair housing case on behalf of a real estate agent to be tried before a jury in the State of Alabama. "This victory highlights the fact that housing discrimination continues to be a serious problem in the Montgomery area," said Faith Cooper, executive director of the Central Alabama Fair Housing Center in Montgomery.
The Fair Housing Center previously sued Lowder Realty on behalf of one of Hall's clients.
Hall v. Lowder Realty Co. (M.D. Ala. 1997)
Civil Action No. 97-T-1382-N
The Honorable Myron H. Thompson, Judge
Leslie Proll, NAACP Legal Defense and
Educational Fund; Attorney for the Plainiff


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On March 19, 2010 in the Asturias, I had the pleasure of traveling with Ignacio "Nacho" Molina, a partner of Marino González, President of COASA-Comercializadora Asturiana de Alimentos (Asturian artisanal products company), through parts of Peñamellera Alta and Peñamellera Baja. In the early days of building their Asturian cheese and artisan products business, González and Nacho Molina would drive out in small vans in different directions, collecting and delivering cheeses, until after a few years they were successful enough to launch COASA. Now they bill nearly $6,000,000 of artisanal Asturian food products, primarily cheeses, and have built a large new facility near Siero outside Oviedo, that can keep the cheeses in different chambers acclimated to the cheese type.
Nacho Molina, COASA, in Peñamellera Alta.
Both of these photographs were taken at the legendary 'La Barata' shop in Cangas de Onís.
In the afternoon, we would visit two memorable cheese producers–Monje and La Chivita en Peñamellera Baja, but the morning was dedicated to driving through spectacular scenery to Peñamellera Alta, where in a light rain that fortunately did not last, we visited the mountain town of Allés. Here Mari Carmen Pérez Corral and her assistant, María del Mar Caso Noriega, make two pasteurized 100% cows' milk cheeses, La Cueva Llonín, a softer cheese that she describes as "like Camembert," and Guayau, which is has a more dense consistency and is meant for longing ageing crumbly (to me it resembled a Monterey Jack-like cheese). The official name for this quesería, though privately owned, is the Sociedad Cooperativa Queso Peñamellera.
La Cueva Llonín, imported by Michelle Buster of Forever Cheese, was white, reminiscent of a goats' milk cheese, but it darkens a bit with age (this sample was just 8-10 days old). The coagulation of this cheese goes on for about 30 minutes, then the curds are cut into small rice-sized pieces, the whey is removed, the curds are salted and then put into molds and kept under refrigeration. The finished La Cueva Llonín cheese has small holes, with a few larger ones, is a little grainy, rough-grained and crumbly when young. It has a buttery, cow's milk nose and is fresh and creamy on the palate with good acid to balance the fat. This cheese would be good with fruit, but I would also like to crumble it over Mexican tacos, Italian pasta or a salad.
Guayau is made much the same way, but aged differently. It is a cheese meant to be consumed with 1-3 months of curation. The cheeses being prepared for sale had aged for a month at the quesería. This cheese is cured, not under refrigeration, but at 16-18 degrees Centigrade Celsius (61-65 degrees Fahrenheit). For the hour that we were there interviewing and photographing the cheese operation, both Mari Carmen and María were laboriously hand labeling and wrapping each cheese individually, a task, like their cheesemaking, that is a completely artisan endeavour.
Tel: (34) 985 415 758.
After our visit to Mari Carmen's quesería, Nacho Molina took me to the nearby Aula de la Miel, an excellent honey-making operation with a museum featuring live bees showing just how honey is made. Jesús Antonio Noriega and his wife, Carolina, owners of La Aula de la Miel, Allés (village), Peñamellera Alta make some excellent honeys and other outstanding artisan products. Downstairs, there is a shop where several types of honey, a honey liqueur (Hydromiel), corn meal flower and other artisan products are sold.
The upstairs is a fascinating museum of apiculture featuring mannequins dressed in bee-keeping gear, an old honey-gathering receptacle made from tree bark, exceptional macro photographs of bees and a glassed-in beehive, where bees lured from the surrounding countryside (superb scenery) make honey as visitors watch.
The Aula de la Miel is also set up to prepare meals (at 21 Euros per person) of typical Asturian fare–with honey-based desserts and the local cheeses–for groups.


text:
Home / Collections / 12 Days of Giving / House Baratheon Set of Four Coins
House Baratheon Set of Four Coins
Ours is the Fury
The youngest of the Great Houses, House Baratheon was formed when their founder, Orys Baratheon, slew the last Storm King in service to Aegon I Targaryen. That was hundreds of years ago, and Robert Baratheon has since seized the Seven Kingdoms from Targaryen rule. This set of coins features unique depictions of the last four Baratheons to claim the Iron Throne, each with the stag sigil of House Baratheon.
Robert Baratheon Copper Star
Robert I Baratheon took the Iron Throne from Aerys II Targaryen, the Mad King, in the war that would be named Robert's Rebellion. The seven-pointed star on the reverse symbolizes the Faith of the Seven, the dominant religion, and also represents the denomination of the coin for the illiterate: seven copper Stars are worth one silver Stag.
Joffrey Baratheon Golden Dragon
Joffrey Baratheon was king on the Iron Throne after his father, Robert Baratheon. Joffrey's reign incited multiple rebellions throughout Westeros culminating in The War of the Five Kings. He was known for his cruelty and brashness. The coin reverse features the stag and the lion, the sigils of Joffrey's parent houses, and "Oldtown", where the coin was minted.
Stannis Baratheon Half-Dragon
Stannis, younger brother of Robert Baratheon, rebelled against Joffrey Baratheon after Robert's death, claiming that the Throne should have gone to himself. This coin features the flaming-heart-and-stag sigil that he takes as his own.
Tommen Baratheon Half-Penny
Tommen Baratheon, The Boy King, took the throne after his brother Joffrey died. He soon wed Margaery Tyrell. Although quite young, he seems to have a kinder spirit than Joffrey did.
The coins in this set from the world of George R. R. Martin are struck from solid brass and copper, measure 1.6 to 3 cm in diameter, and weigh 1.8 to 11 grams. Coin artwork by Greg Franck-Weiby, Joe Paonessa, Tom Maringer and Woody Maringer.
The set contains coins treated to look as if they have been handled and circulated within their world. This process is done by hand, and it is both an art and a science. Coloring and patinas will vary. No two sets are exactly the same! Coins are struck one at a time in the USA using antique machinery and traditional coining techniques. A colorful description is included with history and facts about the coin.
I love them so much!!
Thank you very much!! Love these coins!!
Iron Coin of the Faceless Man
Pure Silver Coin of the Faceless Man
Braavosi Iron Square
Valar Morghulis Necklace


To hear feelings and emotions we simply need to learn the language they speak, and it is not the same language that our intelligent, thinking mind is using. We need an understanding of that difference and we need a proper dictionary. So far we are using one that reminds me of a joke I watched once on TV. The joke is about a couple of tourists travelling in an exotic country using a phrase book written obviously by some crazy academic. The translation of "Can you help me?" meant actually "Where is my hat?" a sentence "What time is it?" was really "Do you have potatoes?", or "Go to the left" was translated as "Don't stroke a cat".The joke was hilariously funny, and perfectly renders a human being's problems with communication generally.
feelings is in being present with them, listening to them, allowing them to move through your body. Nobody can write a dictionary for you, you have to do it yourself. The best, safest and gentlest way is in meditation. Learn meditation.


Professor Smith invites her students to watch her lectures live or "chunked" on the web. She conducts the course remotely, with students participating from China and Germany, as well as on the Stanford campus. Her students access course materials from their phones and tablet computers, at any time of day.
Researchers at different institutions use the latest collaboration tools to further their scientific research. They are able to run and analyze simulations remotely, with all collaborators able to access results through shared resources, regardless of geographical location.
Faculty, TAs, students, medical and admin support staff are able to access IT help 24 hours a day, with chat functionality. There are even social media-enabled help forums for the Stanford community.
Although a regional disaster disrupts business as usual in most of Northern California, the Stanford community's access to core applications and services remains available. At Stanford Medicine, doctors and nurses are able to continue surgeries and patient care without interruption.


text:
Formats and Life
Seeing beyond patterns.
Ever since the creation of first software systems, such as life itself, something akin to evolving file formats has emerged, and they had taken very specific shapes, for example, the fact that people often use very specific sequences of symbols like curly braces (01111011 and 01111101) to group larger chunks of code in most programming languages, is quite arbitrary.
The fact that life in DNA often uses very specific sequences (such as AUG .. TAG) as start and stop codons to group proteins may also be quite arbitrary.
However, shapes do change. For example, over the recent years, the use of curly braces to represent data records, such as:
{"hello": "world"}
had become more popular than angle brackets (00111100 and 00111110) with a forward slash (00101111):
<hello>world</hello>
On a higher level, structures had also evolved. Every version of software usually defines its own new format version. For example, every new version of Microsoft Excel may define slightly different file format, that supports more features. Today, when the world moved towards API-driven data exchange, we see this evolution in terms of the changes of API schemas. While each application has its unique functions, at the time of writing, most APIs use the curly braces to represent records within them, and a utilize a higher level standards of organization, such as REST (Representational State Transfer), and OpenAPI (aka Swagger) specifically, enabling to create generic clients.
For the sake of interoperability, people tend to choose to comply with the standards, and the data written in the previous standards becomes somewhat Formats and Lifeobsolete. However, from the scientific (archeological) perspective, much like the text written in languages of other cultures, the format and the very specific shape that the data comes in, carries the information about the circumstances and the nature (the way of thinking) of the information sources that created them. They are the cultural and technological legacy, which, ideally, is left functional, accessible and usable, rather than unusable. Much like most of you would like our biological brain be preserved in functional and accessible form with a non-destructive mind upload process, rather than a destructive one.
This is the direction which I've been working on lately, and have quite exciting results to share some time in the near future, which, surprisingly are as simple and challenging, as finding the winning strategy in the game of placing pennies on table. :)
Hint: seeing beyond patterns.
Duality Politics
Order and Chaos: Ecosystems vs Organisms — Implicitly and Explicitly Planned Economies.
Copyright © WeFindX Foundation
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Our client, one of the world's largest banking institutions, is seeking a Vice President, Innovation & Partnerships to run a fully autonomous and nimble skunkworks venture capital incubation group. The successful candidate should have a balance between management consulting, consultative problem-solving, venture capital deal selection and construction for startups, and intellectual curiosity, vision and product bend to select winner biz and tech cofounders.
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One critical proven fact that will help people to raise our own ability to uncover brand-new interactions is definitely the idea of personal value. Personal worth would be the level of benefit that we have for a an associate your eyes with other folks.
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When an individual evaluate the worth of almost everything, you typically have a look at quite a few E20-324 Test Questions different issues. This goes accurate internet hosting is benefit. Here are some examples of things some others will be with as soon as determining your height of worth.
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Lloyd Anderson Elected Chairman National Waterways Conference
Port of Portland executive director Lloyd Anderson was elected chairman of the board of the National Waterways Conference at a meeting in late September in Birmingham, Ala. Mr. Anderson will head the organization for two years. Dedicated to the promotion of the U.
CIBRO Petroleum Building Super Barge At Todd Shipyards' Houston, Texas Division
CIBRO Petroleum, a major industrial fuel oil marketer headquartered in New York City, has announced construction is underway at Todd Shipyards Corporation, Houston Division, for the newest addition to its super barge fleet. The 24,200-ton vessel,
OTAL To Invest $5 million in New IT System
The Bollore Maritime Division (BMD) is investing $5 million in a new software management system called iQ-Ship. As a group company OT Africa Line (OTAL) will benefit from this system, which is designed to enhance the quality of service provided to its customers worldwide.
AWO Elects James Potter —Industry Issues Examined At Board Meeting In Tulsa
The AWO board of directors, at their fall quarterly meeting in Tulsa, Okla., on September 13-14, elected James B. Potter Jr. as the Association's fourth president in its 34-year history. Mr. Potter, prior to his election as AWO's chief executive,
Board Approves Spin-off Of Sea-Land Service To Reynolds Shareholders
The board of directors of R.J. Reynolds, Inc. has approved the spin-off of its ocean shipping subsidiary, Sea-Land Industries Investments Inc. When arrangements for the spinoff of Sea-Land to RJR's shareholders are completed, the board will set
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Q: Recreating Scanner in Java I'm writing a game in java, and I have a method that asks user to input the value from Console:
public String getUserInput() {
    try (Scanner scan = new Scanner(System.in)) {
        String s = scan.nextLine();
        return s;
    }
}

The thing is I want to invoke this method various number of times depends on external parameters and I never know in advance, will I invoke again or not.
But when I invoke methods like this for the second call - I get
Exception in thread "main" java.util.NoSuchElementException: No line found

Problems:

*

*I dont understand the root cause of this error: I know I can not
reopen the scanner, but here I dont reopen it but I recreate it.

*How can I deal with it?

A: Don't reopen or recreate it. Use one Scanner for the duration of your program.
Closing a Scanner (as in this case, with your try-with-resources block) will close its input, in this case System.in. You don't want to close that, since you can't reopen it.

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