Da: «Teller Report», 24 ottobre 2019.
An analysis of books, comics, scripts, drawings, photograms and music by the great director was presented at the Sala Squarzina of the Teatro Argentina in Rome
Presented in Rome, in the Sala Squarzina of the Teatro Argentina, “Under the sign of Federico Fellini” (Luca Sossella Editore), by Paolo Fabbri, an analysis of books, comics, scripts, drawings, photograms and music by the great director.
Fabbri, one of the leading scholars of semiology, former director of the Italian Cultural Institute in Paris and of the Federico Fellini Foundation in Rimini, recalled that we are close to 2020, the centenary of the birth of the Master.
Introduced by film critic Steve Della Casa and together with the writer and university professor Paolo Bertetto with Andrea Minuz, professor of History of cinema at the “La Sapienza” University of Rome, Fabbri analyzed the scripts of the most important films of his Rimini friend through the semiological investigation method by attempting some incursions to clarify some secrets, without removing the original mystery. The guest of honor in the room is actress Sandra Milo, muse chosen by Fellini for “8 and a half”.
The sign, in the occasion given to him by the semiologist, proves to be the key not so much to the work but the key word to bring the visual inventions of this director back to a much higher cultural family: “Federico Fellini is an author who does not he has never finished saying what he has to say, Fabbri’s book is an important text because it intercepts memory, images and memory of images within the language of the director, “explained Minuz.
Deleuze had seen the design method of the most important Italian director: “His cinema is not a means of recognition but of knowledge, the science of visual impressions, which forces us to forget our logic and retinal habits”. We have many testimonies of this knowledge through tears and lacerations in Fellini, from childhood memories to directorial notes. “For Fellini everything is present, as Freud said of the Roman stones: in the same stone there is the Augustan one, the medieval one, the papal one and gradually up to the EUR, as in the movie Rome, precisely – Fabbri observed – There is no it is temporal depth, but the tempo-rhythm of a horizontal succession, of a row of presents.”