Abstract
This paper applies existential-humanistic psychology to the character of Marcello Rubini in Federico Fellini's masterful film, La Dolce Vita. The paper outlines the curious case of Marcello and how he bears a striking similarity to the unfortunate Sam Malvo; the paper also looks at precisely what humanistic psychology and existentialist psychology are and how they may be of service to Marcello. Finally, the paper suggests some valuable techniques that can possibly rescue Marcello from his dissolute lifestyle and notes how he has actually become too well-integrated into the debauched world of Rome's Via Veneto.

Tags:existentialist, humanistic, psychology, cinema, Italian

Abstract
The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in Federico Fellini's film, "La Dolce Vita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.

From the Paper
"In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."

Tags:relationships, self-absorption, logotherapy, cultural, integration

Abstract
The paper examines Federico Fellini's Italian film "La Dolce Vita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.

From the Paper
"The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."

Tags:Marcello, pleasure-seeking, morals, decadence, lust, cravings, beauty

Abstract
This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that Federico Fellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.

From the Paper
"In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."

Tags:time director surreal women, rocket launch

Abstract
This seven-page argumentative essay of film analysis compares and contrasts Federico Fellini's films, 8 1/2, as well as AND THE SHIP SAILS ON, evaluating subject matter and stylistic choices such as camera movement, visual design, music, and editing to compare the two and determine how they are similar and how they are different.

Abstract
The paper provides a synopsis of the film, and praises Nino Rota's musical score and Gianni di Venanzo's cinematography. The paper concludes that the film demonstrates the failure of a quest for greatness with the acceptance of mediocrity.

From the Paper
"Guido is at a critical point in his career and he has been contracted to do a new film with the actors hired, a massive set of a spaceship built and a crew ready for production, but Guido has not a single germ of an idea for the movie. Beleaguered by actors wanting to know their parts, producers and crew asking what they should do, battling his own inner fears that ridicule his inabilities and at the same time his personal life is coming apart. Guido fantasizes likely scenes and his daydreams are brought to life through exquisite cinematography by Gianni di Venanzo, as he examines his life, his past and all his present problems."

Tags:Rota, di, Venanzo, cinematography, greatness, mediocrity

Abstract
The word "auteur" has slipped from common usage when describing an artist of film. Perhaps, and there are critics that would rebut it, only Woody Allen is left as someone who is involved in every creative process of film making. The paper argues that while surely there were auteurs in the early days (D.W. Griffith , Charlie Chaplin, Mack Sennett and Cecil B. deMille), there are three pinnacles in recent times (i.e., since the 1950s) that truly deserve the name that was coined for them: Alfred Hitchcock, Jean-Luc Godard, and Federico Fellini. The paper shows how each provided audiences world-wide with a style that was uniquely theirs; some masterpieces and others just good entertainment. Each worked in a different country (countries, in Hitchcock's case, but mostly, his successes were in America), each brought a particular genre to the film, and it is as different auteurs that their work is examined and evaluated.

From the Paper
"La Strada, which was undoubtedly his first international success, Fellini considers "his most juvenile, lyrical, most confessional film." It was also one film which made Anthony Quinn a star- getting rid of his villain roles in American films, and providing him with a powerful image that changed his entire career. While it is often difficult for a writer-director, an auteur, to explain precisely what motivates the film, in the case of La Strada, Fellini said that "Jesus must be sought outside the church....Christ appears to men under different manifestations, even in the guise of a circus performer. Today we are finished with the Christ myth and await a new one." "

Tags:realism, Blackmail, flops, Universal, Psycho

Abstract
This paper is a discussion of the Oedipal structures in Federico Fellini's deeply personal film, 8 1/2. The film is ostensibly autobiographical, but Fellini's reputation for fanciful rewriting of his own history makes it more revealing as a psychological document than as a biography.

From the Paper
"This paper is a discussion of the Oedipal structures in Federico Fellini's deeply personal film, 8 1/2. The film is ostensibly autobiographical, but Fellini's reputation for fanciful rewriting of his own history makes it more revealing as a psychological document than as a biography. Looked at from the perspective of the Sophoclean model of the Oedipus myth, the film offers some intriguing glimpses into several different kinds of triangular tragedies. Viewed from the Freudian angle, it also offers interesting examples of unconscious drives and murderous impulses. The Oedipal structures include not only the relationship among the main character and his parents but also a number of other father-mother-son relationships, especially that in which the filmmaker becomes parent to his own project. In many of these circumstances, the most challenging task is to..."

Abstract
The paper outlines the themes in the films "La Strada" and "Senso" and shows how both of these movies portray love as an essential part of life, but with different results. The paper relates that in both movies, the male protagonists are materialistic and the woman is emotionally weak and suffers at the ends. The paper also explains why at the end of both stories, the audience is left with feelings of pity.

From the Paper
"Italian movies have fascinated and charmed the public in many ways, one of which was through Neo-realism. Italian cinema has truly become master of its own expressive capabilities which has made it capable of communicating with the rest of the world. Two such movies which have been internationally acclaimed are La Strada (1954) by Federico Fellini and Senso (1954) by Luchino Visconti. Both of these movies portray love as an essential part of life, but what makes them different from each other is the result of the love and obsession. Is love a feeling or a necessity? Does love improve a person or turn him into an animal? Can we trust love? Is love a mutual feeling? These are few questions which will hover in our minds while watching these movies."

Tags:love, emotions, feelings, men, women

Abstract
This paper will discuss the work of a director who is generally acknowledged to be one of the great auteurs of modern cinema, Federico Fellini. It will be argued that his film "8 +" (1963) produces meaning through the tension between the director's personality and the material with which he is working; one of the defining elements of "auteurist" cinema. This paper will demonstrate that what renders "8 +" a work of an auteur is the extent to which Fellini mines the familiar pattern of self-reference - a signature of Fellini as auteur - to such a degree as to make the exploration of radical subjectivity into an objective statement about the role of the director as auteur and his function within the filmic text.