Culture in Fellini’s Films

1. Culture in Fellini’s Films Sarah Heinisch Molly Hendler Emily Franklin Mimi Bergen Brian Greggs

19. Nino Rota • 1911-1979 • Music for “The Godfather” parts I and II, Franco Zeffirelli’s “Romeo and Juliet,” and over 150 other films, including Fellini’s from “The White Sheik” through “Orchestra Rehearsal.

20. Thematic Use of Music • In Fellini’s earlier films, themes are linked to characters as recurring leitmotifs. • “La Strada.” The fool’s theme becomes Gelsomina’s, later evoking her to Zampanò.

21. In later films, musical themes are emotional keys. • Reunion/Reconciliation • Salvation • Chaos (White Sheik) • Silence highlights peril. (Nights of Cabiria opening scene)

22. Diegetic vs. Extra-Diegetic Music • Diegetic music occurs within the narrative, that is, the characters can theoretically hear the music. • Extra-diegetic music is pure background, unheard by characters.

23. Fellini blurs the distinction • Where is the music coming from? • Is what we are hearing different from what the characters hear? • Is this a realistic depiction of music? (car radio, missing instruments)

24. Diegetic music used to affect characters; to move/interact with them narratively. • “Amarcord”: Simulated dancing on the church steps. • Reflects Fellini’s typical interest in blurring lines between the real and the fictional.

25. Clips

26. La Strada

27. La Dolce Vita

28. Casanova