La Dolce Vita - Fashion Culture Essay by Madalina Macadrai

LA DOLCE VITA fASHION CULTURE ESSAY

MADALINA ELENA MACADRAI

6FAMK003C Visual Arts Linshi(2015)

BA FASHION MARKETING & COMMUNICATION, LEVEL 6, 2019-2020 CWK1

1 including bibliography WORD COUNT: 16000 words

MAYA MCCARTHY

COURSEWORK INDEX WRITTEN ESSAY Page 1: Project Coverpage Page 2: Index Page 3 : Written Essay Cover Page 4 -5 : Written Essay Page 5-6 : Written Essay Bibliography Page 7 : Research Book Cover

CONCEPT RESEARCH Page 8 - 17 : Understanding Film Innovation, Decade Analysis Page 19 - 22: Understanding Film Innovation, Values and Impacts of ‘La Dolce Vita’

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Page 23 - 27: The Film Page 28 - 40: Understanding Film Communication Page 41 - 48: Understanding Fashion Communication

CONCEPT DEVELOPMENT Page 49 -56: Contemporary Evidence - Understanding How film Influences Society Page 57 - 60: Conclusive Key Photographic Images Page 61 - 67 : Annex Page 68 - 79: Bibliography Page 80 - BackCover 2

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To w h a t e x t e n t h a v e m u s i c a n d f i l m c h a l l e n g e d religion and the Church as well as influenced people from the 1960s to contemporary society? Throughout the entire history of civilisation, religion has been at the pinnacle of society. On the one hand, religious practices and appurtenance to institutions such as the Church can be considered to have added value, significance and unity into people’s lives. (Meeker, no date) On the other hand, they represent a powerful tool for control and manipulation Therefore, in the 1960s, those who did not agree with the latter began to challenge religion and the Church. They did so through means such as music and film and managed to catalyse a change that continues today. This essay aims to explore to what extent have music and film challenged religion and the Church and how much have they impacted people’s values and beliefs in regards to them. Firstly, it is essential to note that in the aftermath of the Second World War people’s relationship with the Church in Europe, and particularly in the United States became stronger. Thus, the shift in the 1960s was more prominent. The end of the war led to a baby boom (1946-1965). This determined families to move to the suburbs and begin living by principles associated with the Church, i.e. security and respectability. As a result, church funding, religious membership and church-going increased and a new approach of conservatism became apparent. In contrast, the baby-boom generation grew up to be more open-minded and in the 1960s started challenging religion and its primary institution, the Church. They deemed the latter as self-interested, controlling and focused on having full power (Beckman, 2000). Part of this challenge was expressed through the women’s liberation movement, spurred by the introduction of the pill in 1961 (American Experience, no date) and encouraged by powerful figures such as Betty Friedman with ‘The Feminine Mystique (1963) and fashion icons such as the inventor of the miniskirt, Mary Quant (American Association of University Women, 2017). This liberation contributed to the sexual revolution of the decade which was supported by the boom in new, inspiring musicians such as The Beatles, The Rolling Stones and Bob Dylan who sang about the time’s struggles and were greatly inspired by the heavy use of psychedelic drugs (Brown, 2010), which represented a move from conservatism and Church appropriate behaviour. In terms of cinema, directors such as Fellini with ‘La Dolce Vita’ (1960) used religious mockery, revealing garments and controversial themes, which represented an outrageous approach given the society at that time. Luis Buñuel followed with ‘Belle du Jour’ (1967), portraying taboo subjects and nudity, which challenged the norms and posed a threat to religion and the Church’s control over people’s boundaries and beliefs. It is clear that the 1960’s music and film were major contributors to a ‘new secular culture of social freedom’ (McLeod Hugh,2008), but what made an even greater difference is the impact of the two from that point forward. Multiple studies have shown that music has a significant influence on people, impacting illness, depression, spending and even their perception of the world, along with beliefs. Music triggers oxytocin and serotonin, which are the hormones responsible for intimacy, trust and bonding. Therefore, it is clear why listeners become very connected to the artist and even often start to get programmed with the same beliefs expressed in the songs (Avramova, 2019). Naturally, the more daring artists of the past years have upset and challenged conservative groups, members of Church and highly religious people overall. Starting in the 1890s, Madonna has challenged religion and the Church. Her music, along with the garments and symbols presented in her videos, has challenged religion and the Church. This, in turn, has influenced her fan base’s beliefs and actions as well. ‘Like A Prayer’ and ‘Like A Virgin’ songs, along with their music videos were condemned by the Vatican and referred to by the Pope as ‘blasphemy’. Regardless, they have received millions of Youtube views and multiple awards nominations. Thus, Madonna’s culture is a testament to how music can pose a threat to religious systems and how it can help dismantle conventions (Lambe, 2019). Moreover, Lady Gaga followed her footsteps with songs such as ‘Judas’ and ‘Alejandro’ where she puts together religious symbols i.e. crosses, Jesus, nun outfit and sexual aspects ie nudity, provocative movements, leather, rope, homosexual relationships. Naturally, she was condemned by Catholic groups, but her fan base continued to support her (Stephanie, 2016). Also, other artists such as Marilyn Manson with ‘Personal Jesus’ (Stephan, 2009) and more recently Hozier with his song ‘Take Me to Church’ (Chorus Online, no date) have continued to use religious elements and perpetuate a movement against traditions and norms.

From documentary to drama, films can have a real impact on people’s lives. (Englehardt, no date). According to Dr Michelle C. Pautz, an associate professor of political science at the University of Dayton, the political socialisation of people is influenced by films. Therefore, how certain institutions are portrayed to the audience, can over time have a significant effect on their beliefs and actions (Guida, 2015). In more recent times, the cinematic world has challenged and exposed religion and the Church. The Devils (1971) an iconic example that has upset the Church, where Ken Russell takes sex and worship to the extreme and wants to show that no one is a saint. Even nuns and priests are lustful, filthy and power-hungry (Rife, 2016). To note is also Fellini’s ‘Roma’ (1972) in which he displayed a liturgical fashion show. Furthermore, the 1999 film called ‘Dogma’ was declared as Blasphemy by the Catholic Church (Desta,2017), while in 2010 the comedy ‘Easy A’ mocked religious beliefs and the concept of sexuality outside of marriage. With other popular examples of contemporary films exposing and challenging religion and the Church, such as ‘Deliver us from evil’ in 2006 (The Week Staff, 2010), it could be argued that film has influenced people’s approach towards religion and the Church. Overall, it is clear that starting with the 1960s, music and film have and continue to challenge religion and the Church, as well as people’s relationship with them. However, the extent of the impact cannot be identified. There are also other factors responsible ie political distress, boom in technology, for the decline in church membership (from 70% to 52% between 1937 and 2018) in the United States and the considerably lower membership in Europe that have had an impact (Jones, 2019).

Written Essay Bibliography 1. American Association of University Women (2017), Celebrate the 1960s at All About Unique Women – The 60s Revolution [Online], Yubanet, Available from: https://yubanet.com/regional/celebrate-the-1960s-at-all-about-unique-women-the-60s-revolution/ (Accessed 13 Nov 2019) 2. American Experience (no date), The Pill and The Sexual Revolution [Online], Pbs.org, Available from: https://www.pbs.org/wgbh/americanexperience/features/pill-and-sexual-revolution/ (Accessed 26 Oct 2019) 3. Avramova N(2019), How music can change the way you feel and act [Online], CNN Health, Available from: https://edition.cnn.com/2019/02/08/health/music-brain-behavior-intl/index.html (Accessed 25 Oct 2019) 4. Beckman J (2000), Religion in Post-World War II America [Online], NationalHumanitiesCenter. Org, Available from: http://nationalhumanitiescenter.org/tserve/twenty/tkeyinfo/trelww2.htm (Accessed 25 Oct 2019) 5. Brown C (2010), What was the religious crisis of the 1960s? [Online], Journal of Religious History vol 34, No 34, Available from https://onlinelibrary.wiley.com/doi/full/10.1111/j.14679809.2010.00909.x (Accessed 20 Oct 2019) 6. Chorus Online (no date), Take me to Church [Online], ChorusOnline, Available from: https:// www.chorusonline.com/arrangements/927/hozier-take-me-to-church.html (Accessed 2 Nov 2019) 7. Desta Y (2017), 11 Films That Caused Major Religious Controversy. The Passion of the Christ is far from alone [Online], Vanity Fair, Available from: https://www.vanityfair.com/hollywood/2017/04/religious-movies-controversy (Accessed 3 Nov 2019) 8. Englehardt N(no date), Film and Society: How Films Impact Society and Popular Culture [Online], PlattCollege, Available from: https://platt.edu/blog/film-society-films-impact-society-popular-culture/ 9. Guida J (2015), How Movies Can Change Our Minds [Online], The New York Times, Available from: https://op-talk.blogs.nytimes.com/2015/02/04/how-movies-can-change-our-minds/ (Accessed 21 Oct 2019) 10. Jones J (2019), U.S. Church Membership Down Sharply in Past Two Decades [Online], Gallup News, Available from: https://news.gallup.com/poll/248837/church-membership-down-sharply-past-two-decades.aspx (Accessed 20 Oct 2019)

12. McLeod H (2008), The Religious Crisis of the 1960s [Online], Oxford Scholarship, Available from: https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199298259.001.0001/acprof-9780199298259-chapter-4 (Accessed 1 Nov 2019) 13. Meeker N (no date), The Common Origins of the World’s Major Religions [Online Publication], Stanford.edu, Available from: https://stanford.edu › The Common Origins of the World’’s Major Religions

UmbertoCantone (no date)

11. Lambe S (2019), Madonna’s controversial ‘Like a Prayer’ marks 30 years since causing an uproar [Online], Fox News, Available from: https://www.foxnews.com/entertainment/madonnas-controversial-like-a-prayer-marks-30-years-sincecausing-an-uproar (Accessed 1 Nov 2019)

14. Rife K (2016), In this banned masterpiece, the evil is real but the witches are not [Online], AV Club, Available from: https://film.avclub.com/in-this-banned-masterpiece-the-evil-is-real-but-the-wi-1798244378 (Accessed 26 Oct 2019) 15. Stephanie K (2016), Religion through the eyes of Lady Gaga and Madonna [Online], Medium.com, Available from: https://medium.com/@stephanie.karp/religion-through-the-eyes-of-lady-gaga-andmadonna-b9327da95d3 (Accessed 25 Oct 2019) 16. Stephan E (2009), Marilyn Manson - Personal Jesus Analysis [Online], Isuu, Available from: https://issuu.com/ellastephen/docs/personaljesusanalysis (Accessed 21 Nov 2019) 17. Suzuki S (2016), Artifact Analysis: Take me to Church by Hozier [Online], Medium.com, Available from: https://medium.com/@seirinseinoah/artifact-analysis-take-me-to-church-by-hozier4649bc45a1f (Accessed 25 Oct 2019) 18. The Week Staff (2010), 5 most damning films about Catholic child abuse [Online], Theweek.com, Available from: https://theweek.com/articles/495287/5-most-damning-films-about-catholic-childabuse (Accessed 20 oct 2019)

Written Essay Cover Bibliography FIGURE 1 Cross 14. Ghorkov Clip Arts (no date), Cross (Online), Ghorkov Clip Arts, Available from: https:// ghorkov.com/explore/catholic%20cross%20clipart/ (Accessed 25 Oct 2019)

RESEARCH BOOK

FIGURE 2 (Maddona in Like a Virgin) Pinterest (no date), Madonna ‘Like A Prayer’ [Online],Pinterest, Available from: https://www. pinterest.com/pin/222154194090199190/?lp=true (Accessed 29 Oct 2019) FIGURE 3 ( Lady Gaga in Alejandro) Pinterest (no date), Lady Gaga Alejandro [Online], Pinterest, Available from: https://www.pinterest.fr/pin/383298618280250948/ (Accessed 20 Nov 2019)

UNDERSTANDING F I L M I N N O V A T I O N

D E C A D E

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ANALYSIS

THE 1950s THE UNITED STATES In the 1950s, The United States had a productive economy, with an influx of cars, suburban houses and several other consumer goods, as well as the most potent military. However, it was not completely perfect, the country taking part in the Cold War and going through the Civil Rights Movement.

The Civil Rights Movement

After the end of the Second World War and with the return of men from the front, the United States experienced a change in gender roles, with men going back to regular jobs and women returning to their role as home-makers. As a result, the country experienced a boom in its economy, suburban lifestyle and number of births.

The mid-1950s were especially crucial in the fight of African Americans against racism and segregation, with events such as the Brown v Board of Education(1954) and Rosa Park’s arrest(1955), sparking a series of events that would change the future of The United States (History.com, 2010).

Consumerism After the war, the GNP of the United States started to grow (from $200 billion to $500 billion between 1945 and 1960), due to the increase in government spending on infrastructure(schools and interstate highways), the increase in military spending on new technologies and airplanes as well as the distribution of the benefits coming from veterans. As a result, the economy was growing, unemployment was low, and wages were high. Now the middle-class had more disposable income than ever, and with new consumer goods available, they started buying more than they needed. The fridges, gardens and bags were full.

Europe significantly felt the effects of the Second World War in the 1950s (in particular early and mid). The war produced considerable damage everywhere. Several cities, towns and villages all over Europe were destroyed and with shattered homes there were a lot of displaced civilians and refugees. WW2 severely affected the European countries plunging many of them into debt and therefore unable to rebuild the destruction. There were shortages in raw materials and food, a high rate of homelessness and unemployment at an all-time high.

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Post-War Boom

These weaknesses caused people to look for solutions outside their situation, reaching out to forces such as communism. Seeing communism as a threat, determined the Western Powers to start international organisations. These focused on defence, security and trade improvement, as well as help physically and economically rebuild the now shattered European nations. Overall, to avoid another conflict, the great European Powers (United Kingdom, Germany, and Russia) switched the approach from competition to cooperation (Carleton, no date).

A representative picture of the baby boom

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Suburban Life With the baby - boom came the suburban growth, because after WW2 developers started to buy land on the outskirts of cities and build cheap houses using mass production techniques. Also, with the G.I. Bill that ‘subsidized low-cost mortgages’, the soldiers that returned from the front had the opportunity to buy one of those houses, and it would have been cheaper than renting an apartment in the city. The houses were family-friendly, but they did not come as an advantage to women, the majority being unhappy with this new lifestyle. An inherent element of the suburban lifestyle was the Church and the increase in churchgoers which went hand-in-hand with the new conservative home-making values and gender reversals.

1950s EUROPE

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In the 1950s there was a clear difference between the USA and Europe in both resources and prosperity. The first was thriving, the second was struggling and recovering

Children waving at a tank

A classic 1950s home-making adv

The USSR and The USA

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Martin Luther King delivering a powerful speech

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The Cold War, defined by the tension between the United States and the Soviet Union, was another critical element of the ‘50s. The United States ensured that communism did not spread into the West, using a series of peaceful tactics. But the ‘Red Scare’ affected both foreign and domestic policy, leading to tens of thousands of Americans losing their jobs, as well as friends and family. Overall, the United States was seemingly prosperous and peaceful internally and externally, but in reality, this was not entirely true, and the 1960s to come were a testament to that.

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The Cold War

German trenches post WW2

Poor children in Spain playing with wooden swords

1950s - ITALY

In ‘1952 half of the Italian population lacked running water’ and the society was mainly agricultural. However, by the late 1950s and the beginning of the 1960s, society became more industrial, and the country was considered one of the most socially and economically fruitful countries in the world. Since a large number of people moved to the cities, ‘Rome became the main centre of the Italian ‘Sweet Life’. (Pusterla, 2018) Between 1955 and 1970, over 24 million Italians

From 1952 to mid-60s, the Italian landscape changed utterly, and the country started developing similarly to consumerist America. Indoor plumbing, television sets, automobiles became the norm in Italian households (The Guardian, 2014). Advertisements for new consumer products and a focus on make-up and Fashion were flooding magazines. The media offered the average person a ‘glimpse of this shiny new world’, which made them become inspired and as a result, move to the city, looking for variety, exciting and affluence themselves. (Niamhcullen, 2012)

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Furthermore, by the end of the 1950s, women who lived in the city had more career opportunities, financial independence, and the choice of whether to become a homemaker or not. With all of these social changes came a fruitful period of contemporary Italian cinema and ‘the explosion of celebrity culture’. (The Guardian, 2014). Overall, the late 1950s and early 1960s in Italy have become ‘synonymous with effortless style and glamour’. The Hollywood movie scene was impressed by Italian Fashion. Therefore, American producers shot many films in Italy and dressed the actresses and actors in hand-made, luxurious and comfortable Italian Fashion. However, it is essential to note that fashion consciousness was not only reserved for celebrties. Italians have and always dress up in public. Whether they go to a black-tie event or a stroll to the market, every outing is an opportunity to shine. The obsession with celebrity has always been present. However, what is the difference between today and back then is that in the past people were fascinated by the famous, ‘now everybody wants to be famous’. (Classiq.me, 2015)

Priests reading ‘Il Observatore’ in the Vatican

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An Italian worker watches a stylish woman walking her poodle in Rome circa 1955

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changed their living location from rural areas to more urban places.

Also, there was a growth in heavy industries, i.e. Fiat, Vespa Pirelli and Alfa Romeo and small craftmanship based businesses. These made Italian citizens live better and made the country stand out internationally.

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The country experienced an economic boom in the late 1950s, but this was mostly relevant for the north, with the south remaining in poverty. As a result, there was significant migration to the north and an increase in urban population. (Vintag.es, 2018) Thus, the late 1950s and early ‘60s experienced a tremendous shift compared to the beginning of the 1950s.

A schoolboy walking through Saint Mark’s Square in Venice cca 1958

Capri island - a tour boat leaving the harbour cca 1955

Like the other European countries, Italy was also greatly affected by the war and went through a shift in gender roles. Much like the USA, after WW2, there was a new focus on morality and conservatism, the role of women as homemakers and the power of the Catholic Church (Edwards,2017).

In Milan, two women hail a new type of taxi called a Vespa Taxi - Scooter cca 1952

A man selling cherries from a in Naples cca 1952

British violonist Yehudi Menuhin (left) and his wife Diana eating spaghetti

A N A L Y S I S

WORLDWIDE KEY EVENTS OF 1960S 1. In 1960 John F Kennedy became president of the United States. 2. In 1962 significant turmoil was caused by the Cuban Missile Crisis. 3. In the same year, The Beatles released their first song ‘Love me do’ in the United Kingdom. 4. Arkansas opened the first Walmart store. 5. In 1963 Civil Rights leader Martin Luther King has the ‘I have a dream’ speech. In 1965 Mary Quant designed the mini skirt, contributing to the women’s liberation movement. 6. Vietnam War(1955-1975): Although it wasn’t a world war, it involved other countries and its effect trickle over the entire world. One of the notable results of the war in popular culture was the student peaceful protests and demonstrations, as well as the reflection of this distress in music such as that of Aretha Franklin, The Rolling Stones and Bob Dylan.

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Stylish 1960s women

7. In the same period, the USA, with its allies and USSR, were going through the Cold War(19461991). As a result, there was instability worldwide (ThePeopleHistory, no date).

Overall, while Italian society was developing and experiencing more possibilities by the late 50s, ‘La Dolce Vita’ by Federico Fellini portrays something way ahead of its time. Yes, rebellion, a sexual revolution, women’s movement and political distress from events such as the Vietnam War defined the 1960s, but the production of the film happened earlier. Towards the end of the 1950s, people developed more modern views. However, the Catholic Church still had a significant influence and Italians were living relatively traditional lives, even in the city. The themes portrayed by Fellini in the film, amid an Italy that was still expanding, shows what a visionary he was.

TIME PERIOD + FILM THEMES A N A N A LY S I S

“eve

ryth

is s o di fficu lt m arce beautiful, famous woman lives the perfect, llo” happy and care-free life, receives unconditional love and does not have problems.

The film manages to portray both the late 1950s and the 1960s.

Maddalena (Anouk Aimée) sensually waiting for Marcello (Marcello Mastroianni) to join him during the prostitute scene

The high-society, and especially the Italian one, portrayed in the film, had more access to this and made heavy use of it. They also took it further, in terms of inappropriate behaviour behind closed doors such as the party towards the end of the movie. However, all this excess came with an emotional price. The members of the high-society, as well as the average people, were trying to cover up fears, pain and wounds in an artificial way. The sweet life wasn’t as sweet as it seemed and Fellini manages to portray that skilfully in the movie. Behind the big sunglasses and the fake smiles, the rich and famous of Rome were truly unhappy. The dialogue between Marcello (Mastroianni) and socialite Maddalena (Aimée) exemplifies this idea.

Marcello: ‘You’re so rich if you fall you’ll land on your feet’ 10. (It’s Somewhere,2016)

Maddalena: ‘I can’t even stand on my feet’. Nothing is as it seems. Moreover, as the movie explores the theme of celebrity with the ever-present Paparazzi, it is clear how glamorised the lives of these infamous people were. We still carry these notions in today’s society. There was and still is the belief that a

“i can’t even stand on my feet”

With the increase in disposable income and advancement in technology, a new wave of consumerism arose, reflected primarily in the high-society. Men and women consumed each other sexually, bought expensive clothes, jewellery, cars and went to many lavish events, as portrayed in the movie. Furthermore, the free nature of the 1960s, mainly influenced by political unrest worldwide, encouraged substance abuse.

ing

Fellini ultimately challenges this idea through the representation of Sylvia (Anita Ekberg), the American actress visiting Rome. The paparazzi greet the femme-fatale, aphrodite and sex-symbol with an overwhelming amount of attention from the paparazzi. It seems as if the whole of Italy is fascinated by her beauty and radiant charisma. However, they secretly hate her and are jealous as seen by Marcello’s fiance’s reaction, as well as other women at the party. Everyone wants a piece of Sylvia during the interview scene, where the most intimate questions are asked’ what do you wear to bed?’ The actress playfully answers, and it seems as she is delighted and enjoying herself. However, in reality, she has a poor relationship with her husband and is unhappy with her lifestyle. This idea is visible in the current society with public figures such as Britney

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Spears. The artist released songs such as ‘Gimme More’ and ‘If you seek Amy’ where she talks about the overwhelming feeling caused by the paparazzi, high-expectations and the need to always maintain appearances. She also discusses the theme of pain behind the fame in ‘Lucky’.

“ she’s so lucky, she’s a star, but she cries cries cries in her lonely heart thinking: if there’s nothing missing in my life, then why do these tears come at night?” Furthermore, this theme evolves into the evening when Sylvia attracts all the attention at a party. But, yet again, her drunk husband manages to embarrass and humiliate her, causing her to storm out. ‘Everything is so difficult, Marcello’. It is such an impactful scene because it almost seems absurd. This stunning woman that has the world at her feet is miserable. Federico Fellini manages to give us a peek into the celebrity life and the true

12. (Nilsen, 2013) feelings they experience. He shows the pain behind the extravaganza and the abundance of Italy and how what the high-society was experiencing didn’t bring them real happiness.

Z, 2010) New York Times described it as ‘one of the most widely seen and acclaimed movies of the 1960s’. Through this film, Federico Fellini transitioned

The 1950s were still a period of change, and the dynamics in society were evident. However, it was only in the 1960s that challenges the status quo began to happen. Nevertheless, Fellini foresaw this and portrayed the idea of people rebelling against institutions that held them to fixed beliefs and rules, such as the Church and religion.

VALUES AND IMPACTS OF ‘LA DOLCE VITA’

‘La Dolce Vita’ has excellent use of religious symbolism, but that comes with the idea of irony and mockery. Fellini uses contrasting images, such as the one at the beginning of the movie. Marcello and Paparazzo are in a Helicopter that has a Jesus statue attached to it, and they begin having a ‘conversation’ with some ladies sunbathing in bikinis. Marcello proceeds to ask for one of the girl’s phone.

‘La Dolce Vita’ cemented Italian cinema amongst the greatest in the world. Film critics praised it, but the Vatican condemned it. Federico Fellini’s film introduced a different approach to cinema. It reflects a country that had emerged from fascism, WW2 and experienced a boom, thus showcasing affluence and new values that challenged the morals of the Catholic Church.

Furthermore, there is the Madonna sign where the whole idea of miracle and faith becomes quite perverse with the media being present at the fake healing powers of the Madonna.

In Italy, Fellini and the film received mixed reception: ‘being both spat on and cheered at”. Because of these strong reactions, other countries such as Great Britain were excited to see it. Indeed, they were shocked.

It is therefore evident why the Catholic Church was so horrified when ‘La Dolce Vita’ was released. The movie was doing something that couldn’t be imagined at the time, and it had the potential to influence an entire generation. In fact, it did.

Jesus statue in the opening scene

from the neorealist to the modernist cinema. Other than being controversial for its explicit sexuality and the fact that it was challenging religious and moralist values, the movie was also ‘revolutionary for its time’. It started to place ‘the female figure in the centre of the spectator’s and the male protagonist’s focus’. This represented a big contrast as within neorealist films women had secondary and inferior portrayal in comparison to men . The movie created ‘a sexualised context for women to be perceived as important figures in film’ and paved the way for future modernist films. La Dolce Vita emphasised the importance of women through centralising relationships, love affairs, and illustrating ‘the female body as an erotic image’. This improvement for women was in line with the many changes happening worldwide in the 60s as part of the women’s liberation movement. Therefore, it is safe to say that Fellini was both visionary and a contemporary (Pandolfi, 2014).

La Dolce Vita introduced Fellini to a more general audience, as opposed to just the ‘art house circuit’. One of the crucial aspects in terms of influence was its impact on the English language.

‘Felliniesque’

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became an adjective that describes something bizarre or surreal.

‘Paparazzi’

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became the term for ‘celebrity-stalking photographers’, coming from Marcello’s sidekick, Paparazzo. ‘La Dolce Vita’, as used ironically to describe a materialistic, shallow lifestyle. However, Fellini meant to use it with the meaning of ‘the sweetness of life’. (French, 2018) ‘La Dolce Vita’ both presents and criticises the period of its production, giving it an ‘invaluable status as a historical artefact’. The film caused controversy upon release with protests in newspapers and also the streets. More conservative views depicted the film as ‘ work of a Communist’. Generally, because of its controversial nature, the film hit box-office success in Italy and abroad. 2,200,000,000 lira grossed. (Zimmerman

Women in bikinis are surprised by the flying Jesus statues & end up flirting with Marcello

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Example of one of the ‘ La Dolce Vita ‘ posters

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BEFORE, DURING, AFTER ‘ LA DOLCE VITA’ After WW2, Italian filmmakers started producing movies that followed stories of ordinary people and their experience living in a country destroyed by the war.

Looking at Fellini’s early and mid-1950s movies such as ‘La Strada’ (1954) and I Vitelloni’ (1953) it is obvious that he was straying away from neorealism when he released ‘La Dolce Vita”.

This movement was called NEOREALISM

Nevertheless, he was still showcasing a form of reality, but in a different light. He was giving a glimpse into a world that had previously been concealed in movies, in Italy but largely outside of it as well (as America, for example, was under the influence of the Hays code).

MOVIE POSTERS FROM DIFFERENT TIMES AND PLACES

Neorealism was mainly a response to the studio-focused, Hollywood-inspired productions during the Fascist years that were still present in the 40s and 50s in America. During the Fascist years, the films made were heavily studio-focused and Hollywood-inspired, and they remained so in the United States in the 40s and 50s.

Daring to challenge the Catholic Church, to expose the famous and affluent, to portray raw sexuality, fetishes, infidelity, all with a sense of irony through the use of beautiful settings and exquisite costumes, was an approach completely ahead of its time. It was only in the late 1960s that the world would become more rebellious and more exposed.

However, the iconic directors such as Rosselini (the man of reference in the movement, who directed the cult movie “Rome, Open City” in 1945), Vittorio de Sica and many others, decided to respond to the previous style and move filming to the streets and. Therefore, they began to show ‘Real Italy’. This was Neorealism.

Therefore, both for Italy and the world, ‘La Dolce Vita’ represented a shock to the system and made Fellini both hated and appreciated.

Inspired by Rossellini, with whom he collaborated on the set of ‘Rome, open city’ (1945), Fellini directed ‘La Strada’(1954), that had a neo-realistic approach to it. It follows the story of a young woman who gets sold to a travelling circus strongman by her poor mother.

hen researching the posters, it was discovered that the prices of posters came up to 5000 dollars a piece. This shows how valuable the film is considered.

Vittorio De Sica and Cesare Zavattini’s ‘Il Tetto’ (1956) is also considered a great neo-realist film that explores one of Italy’s great problems at the time, people finding housing (Iannone, 2019). Moment from ‘La Strada’ with Giulietta Masina

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Poster for ‘IL Tetto’

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THE FILM Introduction:

Ekberg behind the scenes

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Mastroianni, Ekberg and Fellini bts of Trevi scene

La Dolce Vita (1960) is an Italian comedy-drama film directed by Federico Fellini. It follows gossip journalist Marcello Rubini (Marcello Mastroianni) as he navigates ‘the sweet life of Rome’ for several days and nights, and exposes the reality behind Italian high-society.

Bts of dancers in club scene

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Personal Synopsis: Matroianni and Ekberg during press scene

Ekberg smoking a cigarette next to Fontana Di Trevi

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La Dolce Vita (1960) is an Italian cult film that follows the lives of Rome’s high-society. It is presented mostly through the eyes of the main character, Marcello Rubini (Marcello Mastroianni), but also with the help of other influential figures. Marcello Rubini is a reporter for a gossip column in Rome and spends most of his time around Rome’s finest. Alongside his right hand, Paparazzo, a photographer, he follows the lives of the Roman’s rich and famous, in the hopes of getting the latest scoop and the most intimate look into their private lives. The film is divided into different scenes, spanning over seven days and nights. Each of them explores different characters, their personalities and the common idea that shines through from beginning to end: nothing is as it seems. Federico Fellini presents an intimate and extensive look into the life of a wealthy heiress, a Hollywood star, an intellectual’s family’s entourage. He also introduces other characters in whose lives the main character, Marcello does not play a critical role. However, on the surface, it seems as if he has built strong relationships with them. Furthermore, Marcello has his issues and frustrations in life. He lives with a jealous and hysterical girlfriend on who he cheats, hates his job and has very superficial everyday activities. Overall, the film is a grim picture of how wealth and fame are not everything and especially not as they might appear at first glance. The people depicted did not live the happiest or most fulfilling personal lives behind the scenes and the lenses. The ‘Dolce Vita’ was actually quite bitter.

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‘

Director’s Background:

Federico Fellini was one of the most’ distinctive and celebrated’ (Biography.com Editors, 2014) filmmakers of the post World War II period. Known as the ‘Maestro’ of Italian cinema, Fellini was born on the 20th of January 2019 in Rimini, Italy. He showed signs of creativity from childhood and continued his creative pursuits after moving to Rome.

Fellini created a personal style of cinema that mysteriously and miraculously felt universal, making our planet seem somehow smaller and more intimate.’ - Martin Scorsese

During his youth, he worked as a cartoonist and later enrolled in college to avoid having to go to the army. As the years passed, he became friends with the Italian actor Aldo Fabrizi, and they formed a successful professional relationship, writing plays and acting (Biography.com Editors, 2014).

Bts ‘Nights of Cabiria’

In addition, in the late 30s, Fellini met his future wife Giulietta Masina while writing sketches for the radio program Cico e Pallina (Biography.com Editors, 2014). Masina was very

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different from the actresses he usually worked with, which could imply he lived a different life behind the scenes, just as all the other celebrities. He also worked on Italian illustrated magazines and comics. As the next decade rolled on Fellini transitioned into film and screenplay writing. He worked along with the famous neorealist filmmaker Roberto Rossellini on the movie ‘Roma, Cita Aperta’.

Fellini and his wife Giulietta Masina at the Oscars

Thus, he began his involvement in the Neo-Realist movement through one of Italian cinema’s most crucial cult movie. From experience gathered while working with emblematic Neo-realist filmmakers, he developed projects such as ‘The White Sheik’ and ‘ I Vitelloni’. However, he became most well-known for La Dolce Vita, that finally signalled that he was moving on from this style of movies.

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He won 5 Oscars for movies including ‘La Strada (1954)’, ‘Le Notti di Cabiria (1957)’ , ‘8 ½ (1963)’ and ‘Amarcord (1973)’. Fellini’s movies inspired generations of filmmakers and thought them how to take risks and experiment, by combining storytelling with bizarre imagery.

A young Fellini

Fun Fact:

Martin Scorsese watches ‘8 ½’ every year. However, as it is evident, from such an influential figure, with praise also came heavy criticism. For instance, David Thompson wrote, “It’s not that 8 1/2 could or should go on forever, just that it feels as if it does.” (Nashawaty, 2018). The Maestro during an Interview

Sack H (2019) 29. (Papaefthymiou, 2013)

Bts of the final scene with Mastroianni and Fellini discussing

F E L L I N I

F E D E R I C O

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FILM LOCATION AND SETTING R O M A & beyond u

fo I , me lini o r l nd o Fe u fo ric i de n e e F h ‘w d.’ rl wo

SOUNDTRACK

In the 1950s and ‘60s, Rome was the global epicentre of the film industry’. A recent exhibition describes it as ‘an open-air film set’. Local press-photographers were ever-present, but they were different than the paparazzi today. There was a closer relationship between them and the celebrities, as they had slightly more intimate access into their lives. This allowed them to snap iconic images of stars that are still of reference to this day. (British Journal of Photography, 2014)

EUR distrcit Rome

Fellini spent his adult life living in Rome and shot most of his films in the Cinecitta Studios. These studios are famous and historical, having produced more than 3,000 movies, with current ongoing productions. While Cinecitta was the choice for the majority of the film, some of the iconic scenes were filmed elsewhere.

Fontana di Trevi

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• Fontana Di Trevi was chosen for the epic scene with Marcello (Mastroianni) and Sylvia( Ekberg). • The scene where depicting Sylvia’s interview with the press was filmed in Harry’s Bar. • The scene with Sylvia being chased by Marcello up the stairs was filmed in the dome of St Peter’s.

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Cinecitta Studios

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• The scene in which partygoers are carrying a candelabra through the courtyard was shot at the Giustiniani-Odescalchi castle in Bassano Romano, Rome (Tapponi, 2019).

Throughout the 1960s, the ‘La Dolce Vita’ soundtrack by NINO ROTA became a famous LP and brought him to the highest rank of film composers. The album contains a series of medleys, pop songs and Euro Standards(including two by Perez Prado), which help evoke the bittersweet feeling of Fellini’s classic masterpiece film Mortifoglio (Allmusic, no date). ino Rota, (1911-1979) was an Italian film score composer. By the age of 13 Rota had already composed an opera and an oratorio. He studied at the Philadelphia Curtis Institute and started writing film scores. In 1950 Rota began to work with Federico Fellini on films such as La Strada(1955), La dolce vita (1960), 81/2 (1963), and Amarcord (1973). He also provided scores for Francis Ford Coppola inThe Godfather (1972) and The Godfather, Part II (1974) (Cunningham, no date).

• The final of La Dolce Vita was filmed in Fregene, a town on the Tyrrhenian coast. Only 50 minutes by car from Rome, this is where Fellini had a holiday home and spent a lot of time with his wife and close friends. (Shirazi, 2018).

Nino Rota

• Fellini decided to use the EUR district in Rome as one of the locations. This neighbourhood is futuristic, with ‘large cubes of marble’ that ‘conjure up an image of a metaphysical town’, and the charm of the scenery fascinated Fellini. • In the film, it is where Marcello and his girlfriend live and where Marcello takes her to the hospital(more specifically Palazzo Dei Congressi) (Shirazi, 2018).

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UNDERSTANDING FILM COMMUNICATION

Linshi(2015

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Ekberg in the Trevi scene

POV IN ‘LA DOLCE VITA’

FILMING TECHNIQUE & THEME & COLOUR & SOUND

According to Sewell(2011), the point-of-view at the beginning of Steiner (Alain Cuny) ’s party is one of the crucial visual aspects of the film. It offers a strong meaning . The significance lies in Marcello’s point-of-view as he is now more of a spectator, that also unites the rest of the characters(Richardson, 1978). Richardson(1978) also mentions that while Fellini offers Marcello a conventional point-of-view only occasionally, in reality, the whole of ‘La Dolce Vita’ originates from his perspective. Even in the moments when Marcello is absent from the scenes. For example, his persona still authorizes the interaction in the pimp scene.

The fact that the film is in black and white supports the overall plot and the scenes. It adds an ounce of mystery to both the filming locations and the characters. Although there was the opportunity to film in colour, Fellini chose to shoot in black and white. The reason behind this could be the need to stress the oppositions between the new modern Italy and the old rural way of living. Therefore, the film gives a glimpse into the future and introduces the international audience to sophisticated and sleek Italian fashion, as well as the concept of the paparazzi. In ‘La Dolce Vita’ Fellini manages to portray appearance vs reality through an array of tools. The majority of the characters are good-looking, wear elegant, fashionable clothes, are present at the important social events and have a smile on their face in public. But all this is a facade, and the reality is shown behind closed doors, with Marcello Rubini being the person everyone confides to, but that is absent and never truly helps. viewer uncomfortable when they affluent feel. The visuals contrast wealthy Maddalena says ‘I’d like don’t know anyone’, while Marcel‘You’re so rich if you fall you’ll

Maddalena shuts him up with ‘I can’t even stand on my feet’. This is when the viewer can understand how little he knows about the character and how shallow Marcello’s perspective is. Further into the movie Marcello’s interaction with the American sex-symbol Sylvia, yet again shows the contrast between what is seen at the surface and reality, as the actress says ‘Everything is so difficult Marcello’. The interaction between the two ends when the women, dressed in a beautiful gown, gets slapped by her drunk husband. Finally, at Steiner’s icon party is symbolic for Fellini’s ability to use filming techniques, visuals and sounds to portray the contrast between appearances and reality. The sounds from the radio, the dialogues between characters and the interaction between Steiner and Marcello are exquisite and of reference (Rowland,2011)

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At times the film can make the understand how the famous and the dialogues. The beautiful, to live in a new city where I lo challenges her and replies land on your feet’.

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37.(Sewell, 2011)

Steiner’s apartment sequence does not start with a conventional point-ofview as the shot present Steiner’s wife welcoming Marcello and saying ‘Good Evening’ directly to the camera. She also encourages the viewer to identify with Marcello as she continues ’We were waiting for you’.

In response, Marcello glances back at the camera and the wife now places her attention on her husband and naturally redirecting the viewers and subsequently, Marcello’s attention to Steiner.

38.(Sewell, 2011)

39.(Sewell, 2011) The filming technique is focused largely on close-ups as well as shots from the back of the characters. This helps give the viewer the perspective that he is involved in the plot, but at the same time does not truly understand what the characters feel. However, the opening scene is essential to note. The aerial shot gives the impression that Marcello Rubini is on top of the world, the man that watches everyone and knows everything about them. The helicopter he is in is carrying a statue of Jesus, and it could be implied that Rubini thinks he sees himself as a sort of God. This scene is one amongst many that explore a challenge to the Catholic Church and religion itself.

Continuing, Steiner looks toward the camera and as he approaches Marcello enters to shake hands from the left side of the frame.

MINI ANALYSIS

With no cuts, the shot continues and follows Marcello as he starts talking to another group of people. Therefore, at this point, Fellini transitions into a seemingly conventional point-of-view that turns out to be something else because the main character separates from it. Fellini stages Marcello’s entrance into his point-of-view shot to make us think we have it at the beginning, but we do not. We get to see what he sees. What must be mentioned is that while we occasionally view the film through his eyes, this does not automatically imply that we know what the character thinks.

The film is essentially filled with close-up shots which indicate the idea that Fellini wants to offer the viewer a glimpse into the lives of the high-society, but as time passes, one understands how truly the knowing was just an illusion.

As Richardson(1978) explains, what the viewer sees from Marcello’s point-of-view is actually only the surface. He might think that his view is the substance of the film, but what he does not see and why is the essence of the film. One can spot this again during Steiner’s party when he brings Marcello to his children’s room. He explains how his perfect life is actually a facade and almost announces his future suicide. Further in the film when Steiner does commit suicide, Marcello feels guilt that he did not understand his friend and essentially loses hope.

Marcello in the final moments of the final scene

The idea that Marcello looks but does not truly see the substance is clearly seen in the final shots. Marcello and some other party-goers end the party on the beach and stumble across a strange aquatic creature, and the character says’ And it insists on looking’. It could be interpreted that he says that both about the ‘monster’ and about himself. In the end, Marcello’s final attempt to authentically content is gone, because he fails to understand what Paola tries to tell him. With an almost ironic, but also bitter undertone, the film ends with the girl looking straight at the camera (Sewell, 2011).

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Marcello lusting over Sylvia in the Trevi scene

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46. (Youtube,2018) The pictures above depict key moments from the â&#x20AC;&#x2DC;orgy-likeâ&#x20AC;&#x2122; party at the end of the film. They are explained in the pages to come.

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Full-shots to give the viewer a glimpse into the look of the characters and the atmosphere in the room

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During the high-society woman’s striptease show Fellini uses a variety of shots.

Medium shots to focus on the facial expressions of the woman and of the guests during the interaction.

The Sylvia gaze

Close-ups to give the illusion of connection with the character as if the viewer understands and is involved both in conversation and the action itself. High-angle medium shot that depicts the woman whose breasts are only covered by a fur scarf and who is surrounded by several male and female feet. Does she have it all, or is she no one? The camera angle and the several elements in this shot could suggest that although Rome’s affluent thought they were invincible, they were truly vulnerable and small to some respect. This shot could also suggest that women were not treated equally at the time. They were some object. This idea can be further supported during the close-up shots of Marcello standing on top of the blonde lady and pretending he is riding a horse. He is pulling her hair and proceeding to treat her in an extremely derogatory manner, even using physical and verbal violence. All in all, with the use of multiple close-up shots, gives the viewer the impression that he understands the character’s emotions; however, perhaps this is the irony Felinni wanted to play with. You might see the figures closely, but you are actually clueless about how they really feel. * TREVI SHOT Fellini uses full-shots in scenes such as the one with Sylvia and Marcello at Fontana Di Trevi to give the viewer a full image of the costumes and to intensify the experience.

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KEY

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IMAGES 59. (Youtube, 2018)

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PHOTOGRAPHIC

Aerial shot at the beginning to showcase the grandeur of Rome and suggest Marcello’s atitude and presence. Also mocks religion and the Catholic Church. Marcello flirting with girls in bikini provides the ideal contrast.

54. Vanity Fair (2015)

This shot illustrates how fascinated people are with Sylvia, but also how tiring and overwhelming it really is for her.

A powerful medium shot that introduces a key character, Maddalena. Marcello and Maddalena’s facial expressions suggest the air of superiority. Maddalena’s entire look offers her mystery and an unapproachable vibe. The facial expression of the woman next to Maddalena gives the idea of always watching and being watched.

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The dance scene which uses a combination of shots displays a Sylvia that is both sensual and fun. She is the life of the party and her beautiful gown makes the guests flow into an exciting dance as well. The ones who are not involved in the fun are Marcello and Sylvia’s entourage. They only comment from the sidelines.

A full shot is used with the appearance of Sylvia, and the real theme of fame obsession is introduced. Effortlessly elegant, Sylvia plants a smile and takes in all the attention, but her glasses suggest that she wants to keep the distance and that she has something to hide.

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Marcello and Sylvia leaving the party and escaping the Papparazzi. This shot from the back makes the viewer feel as if he is in the car with the two and is almost ease dropping on the conversation. The combination between Marcello’s suit and Sylvia’s hair flowing over her mink fur creates a stunning aesthetic. However, this beauty comes in contrast with Sylvia’s need to escape and feeling of overwhelment.

The most iconic moment. Sylvia is yet again the center of attention. Her poweful presence in the Fontana Di Trevi at night. Even if her entire outfit and hair are wet she still looks flawless. This scene could signify that she wants to be carefree and not stay perfect all the time. But when Marcello joins, she still craves to be looked at, keeping him at a distance, but not giving in to his gentle seduction. She wants to live like someone else, but she is still Sylvia.

The Madonna moment. After two children claimed to have seen the Madonna , multiple tv and radio stations gather to report. In the same time, desperate people barge in hoping for a miracle. A combination of shots, including a high-angle one to show how the agitated and full area are used. The rain adds to the dramatic effect. Emma prays for a better relationship and it all suggests a mockery of religion and faith, especially since Emma’s wish doesn’t come true later on.

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61. (UmbertoCantone, no date)

In this eye-level medium-shot, Marcello and others going to his home. While the others are drunk he remains calm, collected and detached, casually smoking his cigarette while driving. Even the guests are drunk, they still look put-together, and even the woman lays gracefully. It’s all about maintaining appearances after all. To note are the sunglasses worn at night.

A party that is slowly dying. The woman in this eye-level shot clearly has partied hard, given the state of her hair and the fact that she is missing a glove. She looks at the viewer with a sense of boredom but also anger almost to imply: ‘What are you doing here? Why are you watching me? You don’t belong’. The fact that the man holds her pearls(not certain) could suggest that he has control over her

Steiner revealing to Marcello how he really feels(mainly medium and closeup shots) behind the facade of his picture perfect life & gives him advice. This and his suicide later on in the film could suggest how clueless Marcello is about how his friends or acquiantances really feel. In this shot Marcello’s vulnerability is seen as he reveals he looks up to Steiner. Two men in elegant suits, different but both unhappy.

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Maddalena preparing to declare her love to Marcello while kissing another man in the shots to come. Her beautiful outfit almost tries to make-up for her tragic inability to commit even after Marcello proclaims his love for her. This moment image shows a beautiful but confused woman.

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This full-shot offers the bigger picture for the viewer: he can see the guests, with different outfits and different faces. However, they are all gathered for the same reason: to party, have fun, and try to forget about their problems. They are excited to see one of the women striping.

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Marcello destroying a pillow at the party, showing his careless indifferent attitude. It gives the impression that he is giving up on life and on the sham he is living. The texture of the feathers could suggest how fragile he is in this moment.

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The white suit in the context of this scene offers a contrast. This shot could suggest that Marcello feels trapped in this world, or even feels trapped by who he is. It could also suggest that he has a narrow view of life.

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The final scene were it could be said that Marcello finally realises what a sham his life really is and how lost he has become. The white could also suggest a cry for help to the divine, maybe even angels. Another possible religious connotation.

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Marcello trying to exert his power through treating a woman at the party like an animal. Under the influence of alcohol or drugs, she goes with it. This moment could be seen as a reflection of Marcelloâ&#x20AC;&#x2122;s character behind the scenes.

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UNDERSTANDING FASHION COMMUNICATION

The girl in the final scene represents yet again how Marcello does not actually get what people in his life actually feel, but can also suggests a sense of hope

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Gherardi and Mastroianni bts

He had a very flexible technique that helped him adapt to every situation and showcase his sumptuous and refined taste, that would create ‘enchanting atmospheres’. He started working with Federico Fellini on Nights of Cambria (1957) and he was responsible for the scenes and costumes of La Dolce Vita (1960) and 8 ½ (1963), creating a ‘sensation of surreal dream’ in both, for which he won two Academy Awards. He is considered to be one of the people who modernised the italian art of set design (Gonizzi, no date).

Costume Designer

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G H E R A R D I

During the 1950s and 60s italian fashion started to become more inspiring worldwide and it became associated with sexiness and sophistication (Gage, 2014). The fashion choices for La Dolce Vita are in line with the aspect above and to start off this section, it is important to note that the film won an Oscar in 1962 for costume design. It is considered of reference for the cinematic industry, with its’ flowing gowns, vintage swimwear and miraculous hair’. (Wonderland, no date)

‘ the clothes are the characters ‘

Celebrating the Oscar win

P I E R O

Piero Gherardi was a famous italian costume, set and interior designers. He began his career in the world of cinema in 1946 through his costume and set work in Mario Soldati’s movies.

ICONIC STYLE - SILHOUETTE - COLOUR IDENTITY THROUGH COSTUME

Steiner’s wife wearing a polka dot once pices with white collars and a white scarf

The sets and costumes for the film were designed by Piero Gherardiin collaboration with Fellini and are ‘to this day the inspiration and materialization of Italian style’. The name ‘La Dolce Vita’ represents both in Italy and abroad the idea of Italian fashion, style and glamour. It ‘is a mandatory starting point when talking of Italian style’. (Certo, 2017) Fellini claimed that the inspiration for this iconic film came from the clothes, which were designed by Piero Gherardi and were drawn from the waistless dresses fashion of the fifties ( Gage, 2014).

With the lead character Marcello Rubini(Marcello Mastroianni), the designer aimed to reflect Italian menswear fashion of the time, while maintaining an individual sense of style.

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STYLISH MOMENTS 73. (Caffe Noir, 2017)

What is interesting about the film is that Gherardi focused equally on creating exquisite costumes for both the female and male characters.

The time period during which ‘La Dolce Vita’ was shot solely allowed suits to be ‘made to measure by individual tailors’ and the Italian suit had some particularities. If a contrast is to be made with the American Ivy League type, that was defined by loosefit trousers with double-breasted loose jackets, the Italian suits focused on narrow leg slim-fit trousers and slim-fit, single breasted jackets. Therefore, Italian suits offered a high-level of sophistication, which can be easily spotted in the film (Rowland, 2018).

Bikini Babes with cute suits, hats and sunglasses

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M A D D A L E N A

MOST ICONIC GARMENTS

Sylvia dancing

MOST ICONIC GARMENTS

(Anouk Aimée) Sylvia and the cat

Amongst the most iconic garments are Maddalena’s little black dresses paired with black sunglasses, signifying her edgy and mysterious nature, as well as the true sadness and emptiness she feels inside. Essentially Gherardi made reinforced the power of the ‘lbd’.

Sylvia wearing the ‘Prieto dress’

She wears two dresses throughout the film. One of them is tight and knee-length, while the second is an evening gown with sequins, long sleeves, low-cut back and a side-slit skirt. Essentially both looks alongside her cat-eye sunglasses worn even at night, makes her a perfect representation of the glamour during the 1950s, but also emphasise that she tries to hide her true feelings behind flawless garments and accessories, displaying a superior attitude.

S Y L V I A

The sunglasses worn by the actress, inspired Tom Ford as he created ‘retro-looking cat-eye sunglasses’ which he named Anouk (Classiq.me, 2013).

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Maddalena walking through the mansion and revealing her open back

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Perhaps the most iconic look is Sylvia(Anita Ekberg)’s strapless black gown with sweetheart neckline and layered overskirt, which she also paired with a white mink fur over her shoulders. The dress, designed by the Fontana sisters, who focused on internationally appealing feminine silhouettes, flattered Ekberg’s

curves and gave her both a sexy and girly allure. In the same time, as Sylvia drapes her white fur over her shoulders, it could be implied that behind her sex symbol, famme-fatale persona lies someone sensitive, innocent and almost clueless. (Classiq.me, 2013) Although the gown is the most well-known, it is important not to forget

other looks such as the ‘pretino’ dress(little priest dress) Sylvia (Anita Ekberg) wears during her visit at St Peter’s. It was created in 1956 by the Fontana Sisters with permission from the Vatican, for Ava Gardner and in ‘La Dolce Vita’ it is worn by Anita Ekberg, which actually caused trouble amongst the self-righteous

bourgeois (Battista, 2015). To note is also her effortlessly chic airport outfit, made impressive by the white scarf and her flawless hairdo. Finally, her dress during the press scene with the dainty lace on the top and black skirt makes her reveal just enough but still prepare the audience for the ‘grand finale’ with the black gown. The sunglasses worn inside add to her mysterious and alluring personality.

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A depressed Emma waiting for Marcello

MOST ICONIC GARMENTS

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E M M A

Emma and Marcello at Steiner’s party

83. (Classiq.me, 2013) Gherardi emphasises the lead male character’s sexually alluring masculinity from the opening scene, dressing him in a casual but chic ensemble composed of a dark shirt and tie, with large cufflinks and dark glasses. The use of large cufflinks could suggest to the audience that the character has an eye for details, implying his credibility as a reporter. To top off this look is his slicked back hair that suggests his playboy personality. Furthermore, during the nightclub scene Marcello still looks neat, but more elegant and mysterious as he is dressed in a fitted tuxedo, with a narrow bow tie and dark sunglasses. As the night continues and he meets Maddalena and they wind up sleeping together, he proceeds to wake up looking immaculate in terms of outfit and hairstyle. Moreover, when Marcello

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Emma (Yvonne Furneaux) , Marcello’s girlfriend always looks classy, wearing black ensembles, but often with messy hair and accentuated eye makeup that help showing her depressed nature (Wonderland, 2014).

M A R C E L L O

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roams around Rome with Sylvia (Anita Ekberg) and joins her in Fontana di Trevi, he maintains his tailored suit intact, even though he is drenched in water. This suggests how in control and composed he appears to be. Overall, Marcelloâ&#x20AC;&#x2122;s journalistic identity and his nature of being in the shadow is clearly supported by the dark suits and formal clothing chosen by Gherardi. (Rowland, 2011) The only moment when this change is in the final party and beach scene, where he wears a white linen suit and a black shirt. Although the character now appears more vulnerable (Classiq.me, 2013), this stark contrast in garments could also suggest that Marcello is finally ready to come out of the shadows and become a more powerful man in society ( Rowland, 2011).

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FUN FACT

Marcello does not wear sunglasses when interacting with Steiner. This could imply that he wants to connect with him and take in all his knowledge.

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CONCEPT DEVELOPMENT

CONTEMPORARY ‘LA DOLCE VITA’

Che (2017)

fter researching the impact and evolution of both the film and the phrase ‘La Dolce Vita’, it has been discovered that it has been used so much and even vulgarised in the years after the film’s release and the essence of the film has in many cases been lost. With the passing of years, the phrase has become associated with Italy as a whole. When people think of the phrase, they almost always imagine any city in Italy, roaming around the streets or riding on a vespa with sunglasses on, eating gelato and/or pasta and having a very attractive significant other on their arm while being overwhelmed by the sun shining. Therefore, many companies have benefitted from this. You find the phrase used in every day contexts such as a name for hotels, such as a 4 star hotel in Hanoi, Vietnam, a name for an airbnb listing, the name of several italian touristic companies, themes for bachelorette parties, titles of influencer and brand collaboration, titles for blogger’s articles and more.

Agoda(no date)

(ArrowSmith,2018)

‘

he 4 star ‘La Dolce Vita’ Hotel in Hanoi, Vietnam has a decent looking interior. The only issue? It has nothing to do with the film, it does not resemble an italian atmosphere in the slightest and its location does not really inspire a sweet life. A clear example of how vulgarised the film’s title has become in contemporary society.

Sheike(no date)

achelor’s Anna Heinrich spent $25,000 on her extravagant La Dolce Vita-themed hendo, flying all the guests from Australia to Italy! The only issue? She clearly has not watched ‘La Dolce Vita’ as she incorporated a myriad of activities, outfits and ideas that have really nothing to do with the film. The location, the price and the mixed up italian stereotypes are the closest to authenticity. Lost in translation maybe? (ArrowSmith, 2018)

he promotional picture for an italian luxury tour company. Naturally tourists want to experience the ‘Sweet Life’, but there is large difference between the film ‘La Dolce Vita’ and ‘Roman Holiday’ (both exposed in the poster.

n editorial For Gala Magazine called ‘La Dolce Vita’. While it does not directly relate to the theme of the film, it does have some interesting elements such as: the mysetrious and sophisticated man in the background, the seductive gazes both models have, the clothing that is rather elegant and reminds of the film and of course the curvacious models that reminds of Anita Eckberg in the film and the italian bombshells of the ‘50s and ‘60s ie Sophia Loren

CabinsUSA(2019)

Paola Sacco(2019)

very modern, inflleuncer-vibe Australian brand’s campaign shot in Positano, Italy. It is called ‘La Dolce Vita’ but it tries to suggest italian vibes, not the film itself.

n article from Mercedes - Benz’s Classic Magazine called‘La Dolce Vita’. It showcases pictures of italian singer Mandy Grace Capristo and tries to promote one of their cars by selling an italian dream. Nothing to do with the actual film.

Brzoska (2017)

La Dolce Vita’ cabin in the woods of Tennessee. Not only is the style far from Italian, there is nothing that reminds of the movie in the design, location or cabin description. Marketing and vulgarisation yet again.

Style Has No Size (2016)

n this picture a blogger promotes affordable fashion and most specifically an H&M dress, while eating ice-cream on a vespa. She titled it ‘La Dolce Vita’ but she has not refered to the film.

yan Paris - released his hit single called ‘La Dolce Vita’ in 1983 and it was a big hit. The film’s prestige definetely helped propell it.

Art

While the company was accurate when talking about luxury and sexiness, it has clearly associated ‘La Dolce Vita’ purely with 1960s Italy and has brought in other actresses that are not relevant to the film itself. At the same time, the idea of women feeling free is not related to the film, as many of the female characters actually feel trapped and suffocated by their life. The sexiness and luxury is just a facade. In terms of models, there was no consideration towards the combination between slim and voluptuous females in the film, as Cosabella uses relatively thin models in all shots.

abrizio Capaccioni’s artwork brinsg a modern approach to the iconic Fontana di Trevi scene.

(Capaccioni,2017)

Pikstagram(2017)

n Geri Haliwell’s song ‘Mi Chico Latino’ Britain meets Italy. A very catchy song that does not relate to he film but has the phrase ‘La Dolce Vita’ in the lyrcis

osabella lingerie 2012 fall-holiday collection inspired by ‘La Dolce Vita’ with a racy touch.

The campaign aimed to portray the film’s sensuality and glamour as well as showcasing the look of iconic 60s actresses such as Gina Lollobrigida and Sophia Loren. Guido Campello, vice president of marketing, branding and innovation at Cosabella, claimed that ‘La Dolce Vita represents the idea of return of a rich, luxurious feeling, of letting women return to the escape of feeling free, luxurious and sexy’ (Monget, 2012).

Damon M (2019)

Fashion and Advertising COSABELLA LINGERIE BRAND

he summer display called ‘La Dolce Vita’ at the Bellagio Conservatory & Botanical Gardens in Las Vegas was definetely impressive in its grandeur and extravaganza. Although it does not take direct inspiration from the film, it does offer a propserous, wealthy look, much how the lives of the characters of the film appeared from the outside.

Pildoras de Musica(2010)

Music

This shows that over the years, in some advertising campaigns the true meaning behind the phrase has been lost and the majority of campaigns produced in contemporary culture are pretty inaccurate.

Monget K (2012)

S JioSaavn (2012)

arah Connor - released her pop-single ‘La Dolce Vita’ in 2005 and while it is not related to the film , it is about a woman trying to save another from a sad and boring relationship by trying to show her ‘La Dolce Vita’. So maybe the failed relationship part links to the film. Other than, vulgarisation is present.

Monget K (2012)

Beverages Advertising

Beverages Advertising Toma (2006)

While the style, it tion that the proud

spot doesn’t follow the film’s shooting still represents a modern reinterpretamatches with the Italian lifestyle and roots of both companies (Certo, 2017).

While Marcello Rubini (Marcello Mastroianni) is emulated pretty accurately, in this campaign Sylvia(Anita Ekberg) is very different than the original.

Toma (2006)

The swedish director decided to set the commercial in Rome and establish an atmosphere similar to that of ‘La Dolce Vita’, showcasing Fontana di Trevi, Monica Belucci, the elegant femme-fatale, followed by paparazzi and turning the heads of men, as well as elements of religion.

In 2016, Peroni Nastro Azzurro created an advertising campaign that was based around the remake of iconic scenes from the film with a colour as well as black&white option.(Toma, 2006)

(Miamodaq,2012)

MARTINI&ROSSI AND DOLCE&GABANNA CAMPAIGN

Martini&Rossi and Dolce&Gabanna 2010 campaign starring Monica Belucci. In this commercial, the two made in Italy brands presented Martini Gold by Dolce & Gabbana, an original drink inspired by the two Italian designers.

PERONI NASTRO AZZURRO CAMPAIGN

(Miamodaq,2012)

Monica Belucci

(Miamodaq,2012)

Toma (2006)

When leaving the airplane, this Sylvia has a slim figure and wears a red relatively fitted short-sleeve dress with large staple earrings and no sunglasses.

Toma (2006)

Most importantly however is the change in the black gown look. Sylvia from the Peroni campaign has a black dress but with a considerable slit in the front revealing almost completely her legs, and is held at the waist with an white apron that is turned with the back to the front. Her hair is pinned up instead of loosely laying on her shoulders and there is no white mink fur. Nevertheless, the campaign definitely adds a modern touch to the film and is appropriate as Peroni is an italian heritage beverage company. (Bizzcommunity.com,2006)

(Miamodaq,2012)

(Bizzcommunity.com,2006)

Delilah Jane A FUN CASE

let’s be honest! we’ve all fantasised about a Sylvia - M a r c e l l o F o n t a n a D i Tr e v i moment

Delilah really gets into character and confiDelilah enters the fountain in a gracious mandently blows kisses to the surely surprised ner, wearing a shiny dress and a white shawl, thus bringing a modern twist to the iconic look. tourists gathered around the fountain. Of course, the sunglasses couldn’t miss.

(Tyler, 2016)

It’s time to really do a ‘Sylvia’, so Delilah plays with the water, happy and enjoying her moment of glory. Too bad there’s no Marcello in the picture.

Sadly, the fantasy turns into reality and Delilah gets escorted out of the fountain by a police offer. So the vita wasn’t dolce for a long time. But, good things come in small packages!

CONCLUSIVE KEY PHOTOGRAPIC IMAGES

In 2016 a 64-year old british-german woman was fined 450 euros after trying to recreate the Trevi Fountain scene from La Dolce Vita. ‘I explained that I did what I did because I love Italy, I love Fellini and I want to live la dolce vita (the sweet life).’ said Delilah Jay, a former model (Tyler, 2016).

Losing My Religion

Black and white with a touch of red ( emphasised make-up, clothes are kept simple)

(Beal,2017)

(Misimagenes,2014)

Playing with different textures for the nun costume Religious accessories Using religious symbols, sexual imagery, cigarettes, alcohol, technology, music and film symbols to create contrasts Innocence vs sexiness Different angles, close-ups on face and hands Location: must be a neutral background

(Jonvelle,2015)

(Hunger Tv, 2019)

(Beal, 2017)

(Mark, no date)

(MrQuick,2014)

(LovPho, no date)

(Wise Catholic,2016)

Aelis (no date)

ANNEX

(Pinterest, no date)

(Cheeo, 2016)

CREATIVE EXERCISE

THEMES BRAINSTORMING EXERCISE

THEMES The pain behind the extravaganza (Shia, 2018)

(Schatz,2016)

(Linderyd,no date)

(Shia, 2018)

Challenging the Catholic Church - â&#x20AC;&#x153;Sinningâ&#x20AC;?

(Paul S, 2018)

Platonic and Emotionless

(Golovkin,2014)

(Drohan, 2014)

Glamour

(Pobre, 2013)

Schatz (2016)

Golovkin (2014)

(Peters , 2008)

Sexualisation of women

The Dark Side of Rome: Drugs, Violence, Fetishes

(Linderyd, no date)

The Secrets of the High-Society

Von Unwerth (2017)

Schatz (2016)

Linderyd (no date)

Tr a g e d y o f l o v e a n d i n a b i l i t y t o c o m m i t

Schatz H (2016)

Von Unwerth (2017)

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Page 18 12. Nilsen, R. (2013), La Dolce Vita [Online], RichardNilsen, Available from: https://richardnilsen.com/2013/11/07/la-dolce-vita/ (Accessed 25 Oct 2019) 13. Caffe Noir (2017), La Dolce Vita (1960) [Online], MexNoir, Available from: http://mexnoir. blogspot.com/2017/04/italo-chic-la-dolce-vita-1960.html (Accessed 19 Oct 2019)

14. Ghorkov Clip Arts (no date), Cross (Online), Ghorkov Clip Arts, Available from: https:// ghorkov.com/explore/catholic%20cross%20clipart/ (Accessed 25 Oct 2019) Page 19 15. 1stDibs(2019), “La Dolce Vita” Film Poster, 1960” [Online], Available from: https://www.1stdibs.co.uk/furniture/wall-decorations/posters/la-dolce-vita-film-poster-1960/id-f_7382913/ (Accessed Oct 30 2019) Page 20 16. Ebay (2019), La Dolce Vita POSTER brand new SIZE 61 cm X 91.5 cm [Online], Ebay, Available from: https://www.ebay.com.au/itm/La-Dolce-Vita-POSTER-brand-new-SIZE-61-cm-X-91-5cm-/371800380417 (Accessed 25 Oct 2019) 17. Kellerman D (no date), La Dolce Vita(1960) Federico Fellini [Online], Kellerman Design, Available from: http://kellermandesign.com/portfolio/la-dolce-vita-1960-movie-poster/ (Accessed 20 Oct 2019) 18. Film Art Gallery(2019), La Dolce Vita [Online], Film Art Gallery, Available from: https:// filmartgallery.com/products/la-dolce-vita-2 (Accessed 16 Oct 2019) 19. Poster Museum (no date), La Dolce Vita [Online], Poster Museum, Available from:https://postermuseum.com/collections/all/products/la-dolce-vita (Accessed 24 Oct 2019) Page 21 20. Imbd (no date), El techo (1956) [Online], Imbd, Available from: https://www.imdb.com/title/ tt0049839/ (Accessed 20 Oct 2019)

Page 26 30. Italian Trends (no date), Eur rome 2 review [Online], Myelection.info, Available from: http://myelection.info/guide/e/eur-rome-2-review.html (Accessed 11 Nov 2019) 31. FountainsOc (2018), Fountains Throughout the Ages [Online], FountainsOc,Available from: https://fountainsoc.org.uk/fountains-throughout-the-ages-part-1/fountains-throughout-the-ages/ (Accessed 21 Nov 2016) 32. Collinson, M. (2012), The Charming Story of Cinecitta Studios in Rome [Online], Available from: https://www.italymagazine.com/featured-story/charming-story-cinecitta-studios-rome (Accessed 10 Nov 2019) Page 27 33. Sette, D. (2019), Movie Score, speciale Festival del Cinema Europeo: 40 anni senza Nino Rota [Online], Newscinema.it, Available from: https://www.newscinema.it/movie-score-speciale-festival-del-cinema-europeo-40-anni-senza-nino-rota/ (Accessed 12 Nov 2019) Page 28 - 29 34. Time Photo (2015), Swedish-Italian Screen Siren Anita Ekberg Dies at 83 [Online], TIME, Available from: https://time. com/3662794/anita-ekberg-gallery/ (Accessed 10 Nov 2019) Page 30

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22. El Telegrafo (2015), La Dolce Vita de Fellini volvera a la vida 10 julio de 2015 [Online], El Telegrafo, Available from: https://www.eltelegrafo.com.ec/noticias/cultura/10/la-dolce-vitade-fellini-volvera-a-la-vida (Accessed 20 Oct 2019)

36. Sewell, M. (2011), Short Takes: Cinematography: Fellini’s Innovative Merging of Subject and Object in the POV in La Dolce Vita [Online], Brightlightsfilm.com, Available from: https://brightlightsfilm.com/short-takes-cinematography-fellinis-innovative-merging-of-subject-andobject-in-the-pov-in-la-dolce-vita/#.XdmjOy2ZM0o (Accessed 21 Oct 2019)

23. Redrum, (2018), Dolce Kiss [Online], Redrum, Available from: https://redrumblog. ru/2018/09/12/dolce_vita/ (Accessed 3 Nov 2019) 24. UmbertoCantone (no date), La Dolce Vita di Federico Fellini – Blu-ray [Online], UmbertoCantone, Available from: http://www.umbertocantone.it/la-dolce-vita/#prettyPhoto[gallery]/8/ (Accessed 10 Nov 2019) 25. VICE Staff (2013), Go See Federico Fellini’s ‘La Dolce Vita’ Tonight [Online], VICE, Available from: https://www.vice.com/en_au/article/mvpmnp/go-see-frederico-fellinis-la-dolcevita-tonight (Accessed 20 Oct 2019) Page 23 26. Mptv Images (no date), 5754_0020 [Online], Mptv Images, Available from: https://www.mptvimages.com/images?mptv_keywords=Film+Still&max=75 (Accessed 24 Nov 2019) Page 24 27. Sack H (2019), Federico Fellini - Realist of the Fantastic [Online], Scihi, Available from: http://scihi.org/federico-fellini/ (Accessed 20 oct 2019) Page 25 28. Oscars (2015), Fellini Through the Years [Online], Oscars, Available from: https://www.oscars.org/news/fellini-through-years (Accessed 20 Oct 2019) 29. Papaefthymiou V (2013), Catherine Deneuve, Marcello Mastroianni [Online], Karouzo, Available from: https://www.karouzo.fr/catherine-deneuve-marcello-mastroianni-ensemble-sur-les-plateaux-cinematographiques-et-dans-la-vie/ (Accessed 13 Nov 2019)

37. Sewell, M. (2011), Short Takes: Cinematography: Fellini’s Innovative Merging of Subject and Object in the POV in La Dolce Vita [Online], Brightlightsfilm.com, Available from: https://brightlightsfilm.com/short-takes-cinematography-fellinis-innovative-merging-of-subject-andobject-in-the-pov-in-la-dolce-vita/#.XdmjOy2ZM0o (Accessed 21 Oct 2019) Page 32 38. Sewell, M. (2011), Short Takes: Cinematography: Fellini’s Innovative Merging of Subject and Object in the POV in La Dolce Vita [Online], Brightlightsfilm.com, Available from: https://brightlightsfilm.com/short-takes-cinematography-fellinis-innovative-merging-of-subject-andobject-in-the-pov-in-la-dolce-vita/#.XdmjOy2ZM0o (Accessed 21 Oct 2019) 39. Sewell, M. (2011), Short Takes: Cinematography: Fellini’s Innovative Merging of Subject and Object in the POV in La Dolce Vita [Online], Brightlightsfilm.com, Available from: https://brightlightsfilm.com/short-takes-cinematography-fellinis-innovative-merging-of-subject-andobject-in-the-pov-in-la-dolce-vita/#.XdmjOy2ZM0o (Accessed 21 Oct 2019) 40. Madison Movie (2014), Blu-ray review: “La Dolce Vita: The Criterion [Online], Madison Movie, Available from: Collection”https://madisonmovie.org/2014/12/01/blu-ray-review-la-dolce-vita-thecriterion-collection/ (Accessed 1 Nov 2019) Page 33 - 34 All pictures (41 - 48) Youtube (2018), La Dolce Vita (1960) [Online], Youtube, Available from: https://www.youtube.com/ watch?v=rE64jx0Hz6I&t=6622s (Accessed 20 Nov 2019)

Page 35 49. New York Times (no date), NYT RECOMMENDATION La Dolce Vita [Online], New York Times, Available from: https://www.nytimes.com/watching/recommendations/watching-film-la-dolce-vita (Accessed 23 Oct 2019)

66. Holland, N. (no date), Federico Fellini, La Dolce Vita (1960) [Online], AsHarperFocus.com, Available from: http://www.asharperfocus.com/DolceV.html (Accessed 7 Nov 2019)

Page 36

67. Madison Movie (2014), Blu-ray review: “La Dolce Vita: The Criterion [Online], Madison Movie, Available from: Collection”https://madisonmovie.org/2014/12/01/blu-ray-review-la-dolce-vita-thecriterion-collection/ (Accessed 1 Nov 2019)

50. PngRiver (no date), Download Lipstick Kiss PNG File [Online], PNGRIVER, Available from: https://pngriver.com/download-lipstick-kiss-png-file-49294/ (Accessed 21 Nov 2019)

68. Carr J (2017), New on Video: ‘La Dolce Vita’ [Online], Popotiq, Available from: https://www. popoptiq.com/la-dolce-vita/ (Accessed 20 Oct 2019)

Page 37 51. Movie Movie (2016), La Dolce Vita [Online], Guia De Peliculas,Available from: http://moviemovie-guiadepeliculas.blogspot.com/2016/04/la-dolce-vita-it-fr-riama-films-pathe.html (Accessed 29 Oct 2019) Page 38 - 39 - 40 52. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019) 53. GlamAmor (2010), Cinema Style File--1960s Italian Style in Frederico Fellini’s LA DOLCE VITA [Online], GlamAmor, Available from: http://www.glamamor.com/2010/09/inspiration-fellinis-la-dolce-vita.html (Accessed 18 Oct 2019) 54. GlamAmor (2010), Cinema Style File--1960s Italian Style in Frederico Fellini’s LA DOLCE VITA [Online], GlamAmor, Available from: http://www.glamamor.com/2010/09/inspiration-fellinis-la-dolce-vita.html (Accessed 18 Oct 2019) 55. Vanity Fair (2015), Anita Ekberg, Star of La Dolce Vita, Died at 83 [Online], Vanity Fair HWD, Available from: https://www.vanityfair.com/hollywood/2015/01/anita-ekberg-dead-at-83 (Accessed 20 Nov 2019) 56. Burns (2019), 59 Years Later, Federico Fellini’s ‘La Dolce Vita’ Still Feels Fresh [Online], WBUR, Available from: https://www.wbur.org/artery/2019/08/29/federico-fellini-la-dolce-vita-brattle (Accessed 20 Oct 2019) 57. GlamAmor (2010), Cinema Style File--1960s Italian Style in Frederico Fellini’s LA DOLCE VITA [Online], GlamAmor, Available from: http://www.glamamor.com/2010/09/inspiration-fellinis-la-dolce-vita.html (Accessed 18 Oct 2019) 58. Carr J (2017), New on Video: ‘La Dolce Vita’ [Online], Popotiq, Available from: https://www. popoptiq.com/la-dolce-vita/ (Accessed 20 Oct 2019)

Page 42 69. Corriere Della Sera (no date),Available from: Fellini e l’Oscar: 50 anni fa il trionfo di 8½ [Online], Corriere.it, https://www.corriere.it/foto-gallery/reportage/spettacoli/14_marzo_01/fellini-oscar-40-anni-fatrionfo-8-e093792c-a15f-11e3-b365-272f64db5437.shtml?refresh_ce-cp (Accessed 20 Oct 2019) 70. Corriere Della Sera (no date),Available from: Fellini e l’Oscar: 50 anni fa il trionfo di 8½ [Online], Corriere.it, https://www.corriere.it/foto-gallery/reportage/spettacoli/14_marzo_01/fellini-oscar-40-anni-fatrionfo-8-e093792c-a15f-11e3-b365-272f64db5437.shtml?refresh_ce-cp (Accessed 20 Oct 2019) 71. PngFind (no date), Oscar [Online], PngFind, Available from: https://www.pngfind.com/mpng/iimRRbx_academy-awards-png-the-oscars-png-academy-award/ (Accessed 21 Nov 2019) Page 43 72. Youtube (2018), La Dolce Vita (1960) [Online], Youtube, Available from: https://www.youtube. com/watch?v=rE64jx0Hz6I&t=6622s (Accessed 20 Nov 2019) 73. Caffe Noir (2017), La Dolce Vita (1960) [Online], MexNoir, Available from: http://mexnoir. blogspot.com/2017/04/italo-chic-la-dolce-vita-1960.html (Accessed 19 Oct 2019) Page 44 74. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019) 75. Pinterest (no date), La Dolce Vita [Online], Pinterest, Available from: https://www.pinterest.com/pin/235102043028109091/ (Accessed 22 Nov 2019) Page 45

59. Youtube (2018), La Dolce Vita (1960) [Online], Youtube, Available from: https://www.youtube. com/watch?v=rE64jx0Hz6I&t=6622s (Accessed 20 Nov 2019)

76. Linshi (2015), TIME, La Dolce Vita Star Anita Eckberg Dies at 83 [Online], TIME Entertainment, Available from: https://time.com/3662787/anita-ekberg-obit/ , (Accessed 20 October 2019)

60. UmbertoCantone (no date), La Dolce Vita di Federico Fellini – Blu-ray [Online], UmbertoCantone, Available from: http://www.umbertocantone.it/la-dolce-vita/#prettyPhoto[gallery]/8/ (Accessed 10 Nov 2019)

77. The Movie and The Muse (2018), Famous films recaptioned: La Dolce Vita [Online], The Movie and The Muse, Available from: https://themovieandthemuse.wordpress.com/2018/05/31/la-dolce-vita-cat/ (Accessed 23 Nov 2019)

61. UmbertoCantone (no date), La Dolce Vita di Federico Fellini – Blu-ray [Online], UmbertoCantone, Available from: http://www.umbertocantone.it/la-dolce-vita/#prettyPhoto[gallery]/8/ (Accessed 10 Nov 2019)

78. Irenebrination (2015),Anita, What’s in a Dress? [Online], Irenbrination,Available from: https://www.irenebrination.com/irenebrination_notes_on_a/2015/01/obituary-anita-ekberg.html (Accessed 27 Nov 2019)

62. GlamAmor (2010), Cinema Style File--1960s Italian Style in Frederico Fellini’s LA DOLCE VITA [Online], GlamAmor, Available from: http://www.glamamor.com/2010/09/inspiration-fellinis-la-dolce-vita.html (Accessed 18 Oct 2019)

Page 46

63. Youtube (2018), La Dolce Vita (1960) [Online], Youtube, Available from: https://www.youtube. com/watch?v=rE64jx0Hz6I&t=6622s (Accessed 20 Nov 2019) 64. Film International (2015), Monstrous Gaze: The Quandary of Spectatorship in La dolce vita [Online], Filmint.ru, Available from: http://filmint.nu/?p=16588 (Accessed 20 Oct 2019) 65. GlamAmor (2010), Cinema Style File--1960s Italian Style in Frederico Fellini’s LA DOLCE VITA [Online], GlamAmor, Available from: http://www.glamamor.com/2010/09/inspiration-fellinis-la-dolce-vita.html (Accessed 18 Oct 2019)

79. Getty Images (no date), La Dolce Vita [Online], Getty Images, Available from: https://www. gettyimages.com/detail/news-photo/french-actress-anouk-aimee-as-maddalena-in-la-dolce-vita-newsphoto/154047540 (Accessed 26 Nov 2019) 80. Youtube (2018), La Dolce Vita (1960) [Online], Youtube, Available from: https://www.youtube. com/watch?v=rE64jx0Hz6I&t=6622s (Accessed 20 Nov 2019) 81. Film International (2015), Monstrous Gaze: The Quandary of Spectatorship in La dolce vita [Online], Filmint.ru, Available from: http://filmint.nu/?p=16588 (Accessed 20 Oct 2019)

Page 47 - 48 82. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019) 83. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019)

6. Pikstagram (2017), #michicolatino Instagram Photos & Videos [Online], Pikstagram, Available from: https://pikstagram.org/tag/michicolatino (Accessed 3 Nov 2019) 7. JioSaavn (2012), Dolce Vita Lyrics, [Online], JioSaavn, Available from: https://www.jiosaavn. com/lyrics/dolce-vita-lyrics/BA5TATt9W3I (Accessed 2 Nov 2019)

84. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019)

8. Damon M (2019), PHOTOS: LA DOLCE VITA AT BELLAGIO CONSERVATORY 2019 [Online], KNTV, Available from: https://www.ktnv.com/positivelylv/photos-la-dolce-vita-at-bellagio-conservatory-2019 (Accessed 23 Oct 2019)

85. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019)

9. Capaccioni F( 2017), Dolce Vita, Artist.com, Available from: https://artist.com/fabrizio-capaccioni/dolce-vita/?artid=5322 (Accessed 21 Oct 2019)

86. Classiq.me (2013), Style in film: La Dolce Vita [Online], Classiq.me, Available from: http:// classiq.me/style-in-film-la-dolce-vita (Accessed 12 Nov 2019)

Page 53

87. Abrams, S. (2011), What ‘La Dolce Vita’ taught Sofia Coppola about bored young bohemians [Online], Politico, Available from: https://www.politico.com/states/new-york/city-hall/story/2011/06/what-la-dolce-vita-taught-sofia-coppola-about-bored-young-bohemians-067223 (Accessed 23 Nov 2019) Page 80 ( Back cover) UmbertoCantone (no date), La Dolce Vita di Federico Fellini – Blu-ray [Online], UmbertoCantone, Available from: http://www.umbertocantone.it/la-dolce-vita/#prettyPhoto[gallery]/8/ (Accessed 10 Nov 2019)

IMAGES ( CONTEMPORARY ‘LA DOLCE VITA’)

Monget K (2012), Cosabella lives ‘La Dolce Vita’ , WWD, Available from: https://wwd.com/business-news/media/cosabella-lives-la-dolce-vita-6045180/ (Accessed 20 Oct 2019) Page 54 Miamodaq (2012), Sensual Martini Gold by Dolce & Gabbana with georgous Monica Belucci, Miamodaq Blogspot, Available from: http://miamodaq.blogspot.com/2012/12/sensual-martini-gold-by-dolce-gabbana.html (Accessed 10 Nov 2019) Page 55 1. Bizzcommunity.com (2006), Perroni’s homage to Fellini [Online], AdvertisingNewsSouthAfrica, Available from: https://www.bizcommunity.com/Article/196/12/10230.html (Accessed 20 Oct 2019) 2. Toma (2006) , La Dolce Vita Ruleaza Si In Romania, Adplayers.ro, Available from: http://www. adplayers.ro/articol/Business-6/La-Dolce-Vita-ruleaza-si-n-Rom-nia-860.html (Accessed 20 Oct 2019)

Page 50 - 56

Page 56

Page 50: 1. Agoda (no date), La Dolce Vita Hotel Hanoi [Online], Agoda.com, Available from: https://www. agoda.com/la-dolce-vita-hotel/hotel/hanoi-vn.html?cid=-218# (Accessed 20 Oct 2019)

Tyler A (2016), Watch a woman unsuccessfully try to recreate this iconic movie scene in the Trevi fountain [Online], LonelyPlanet.com, Available from: https://www.lonelyplanet.com/articles/trevi-fountain-recreate-la-dolce-vita, (Accessed 1 Nov 2019)

2. ArrowSmith, J. (2018), No expense spared! Anna Heinrich’s drops a whopping $25,000 on her extravagant La Dolce Vita-themed hens do ahead of her lavish wedding to Tim Robards in Italy [Online], DailyMail Australia, Available from: https://www.dailymail.co.uk/tvshowbiz/article-5646347/Anna-Heinrichs-La-Dolce-Vita-themed-hens-cost-25-000-dollars.html (Accessed 21 Oct 2019)

CONCLUSIVE KEY PHOTOGRAPHIC IMAGES

3. CabinsUSA (2019), La Dolce Vita [Online], CabinsUSA, Available from: https://www.cabinsusa. com/vacation-cabin-rental/gatlinburg/gatlinburg/la-dolce-vita-cabin-rental-903.php?details=cabinsbyname (Accessed 13 Nov 2019)

1. Aelis (no date), Nun [Online], Weheartit.com, Available from: https://weheartit.com/entry/123523945 (Accessed 20 Nov 2019)

4. Paola Sacco(2019), La Dolce Vita “Enjoy Sweet Life” [Online], PaolaSaccoLuxuryTravel, Available from: https://www.paolasacco.com/en/luxury-trip/la-dolce-vita.html (Accessed 20 Oct 2019)

2. Beal (2017), A former nun finds her voice in fashion photography [Online], Vice, Available from: https://www.vice.com/en_au/article/mbjey8/bita-cuartas-former-nun-fashion-photography (Accessed 4 Nov 2019)

Page 51 1. Che, L. (2017), La Dolce Vita, Limaswardrobe.com [Online], Available from: https://www.limaswardrobe.com/blog/la-dolce-vita-1/ (Accessed 21 Oct 2019) 2. Style Has No Size (2016), La Dolce Vita [Online], Stylehasnosize.com, Available from: https://stylehasnosize.com/fashion/la-dolce-vita/ (Accessed 19 Oct 2019)

Page 57 - 59

3. Cheeo (2016), Provocative: An Interview with Tyler Shields [Online], Available from: https:// www.lomography.com/magazine/324471-provocative-an-interview-with-tyler-shields (Accessed 13 Nov 2019) 4. Kara D ( 2015), For Elegant and Dark Beauty Magazine [Online], Available from: https://www. behance.net/gallery/29191843/For-Elegant-and-Dark-Beauty-Magazine (Accessed 30 Oct 2019)

3. Sheike (no date), La Dolce Vita [Online], Sheike.com.au, Available from: https://www.sheike. com.au/la-dolce-vita-campaign (Accessed 22 Oct 2019)

5. LovPho (no date), Fashion Nun, LovPho, Available from: http://lovpho.com/pin/religious-editorial-fashion-magnolias-fashion-nun-beauty-now-nun-girl-photo-cross-religiousfashion.html (Accessed 25 Oct 2019)

4. Brzoska, I. (2017), Mandy Grace Capristo: La Dolce Vita, Mercedes-Benz.com, Available from: https://www.mercedes-benz.com/en/me/inspiration/she/lifestyle-she/mandy-grace-capristo-la-dolcevita/ (Accessed 18 Oct 2019)

6. Mark A (no date), Arjun Mark, Lurzer’s Archive [Online], Available from: https://www.luerzersarchive.com/en/magazine/print-detail/arjun-mark-66270.html (Accessed 24 Oct 2019)

5. Pildoras de Musica (2010), Dolce Vita, Ryan Paris, 1983, [Online], Pilodrasdemusica Blogspot, Available from: http://pildorasdemusica.blogspot.com/2010/08/dolce-vita-ryan-paris-1983.html (Accessed 24 Oct 2019)

7. MrQuick (2014), Raquel Welch - Bluebeard (1972) [Online], MrQuick.net, Available from: http://www.mrquick.net/2015/07/ (Accessed 24 Oct 2019) 8. Pinterest (no date), Nuns [Online], Pinterest.com, Available from: https://www.pinterest.com/ carbonardiente/nuns/ (Accessed 25 Oct 2019) 9. Wise Catholic (2016) Nuns and Sex [Online], Wise Catholic, Available from: http://wisecatholic.blogspot.com/2016/12/nuns-and-sex.html (Accessed 13 Nov 2019) 10. Jonvelle, J. (2015), Angelo Azzuro [Online], Angelo Azzuro, Available from: https://angelo-azzurro.tumblr.com/page/2 (Accessed 10 Nov 2019)

Page 66 1. Schatz, H. (2016), The Seven Deadly Sins [Online], HowardSchatz.com, Available from: http:// howardschatz.com/the-seven-deadly-sins-high-fashion-division/ (Accessed 6 Nov 2019) 2. Linderyd(no date), Sin City [Online], DonaldLinderydPhotography, Available from: http://www. dlinderyd.c om/portfolio/fashion/sin-city/ (Accessed 1 Nov 2019) 3. Von Unwerth E(2017), “Let’s Party” [Online], Duchess Dior Blogspot, Available from: http://duchessdior.blogspot.com/2017/03/lets-party-by-ellen-von-unwerth-for.html (Accessed 10 Nov 2019)

11. Misimagenes (2014), Nuns-Pray-monjas-cruz- Pictures [Online], Mis Imagenes,.Available from: http://misimagenesparatublog.blogspot.com/2014/02/nuns-pray-monjas-pictures.html (Accessed 21 Oct 2019) 12. Hunger Tv (2019), GAME OVER: A NEW FASHION EDITORIAL EXPLORING TECH ADDICTION [Online], Available from: https://www.hungertv.com/editorial/game-over-a-new-fashion-editorial-exploring-tech-addiction/ (Accessed 29 Oct 2019)

ANNEX ( THEMES PICTURES) Page 63 1. Shia, J. (2018), Rain Magazine [Online], Models.com, Available from: https://models.com/ feed/?p=69819 [Accessed 23 Oct 2019] 2. Drohan, F. (2014) , Why are women always the victim in high fashion photo shoots? [Online], Independent.ie, Available from: https://www.independent.ie/style/fashion/fashion-fix/why-are-women-always-the-victim-in-high-fashion-photo-shoots-30488453.html [Accessed 2 Nov 2019] 3. Pobre D(2013), Non Platonic [Online], Darrel Pobre, Available from: https://darrelpobre.wordpress.com/2013/08/09/non-platonic/ (Accessed 25 Oct 2019) Page 64 1. Linderyd(no date), Sin City [Online], DonaldLinderydPhotography, Available from: http://www. dlinderyd.c om/portfolio/fashion/sin-city/ (Accessed 1 Nov 2019) 2. Schatz, H. (2016), The Seven Deadly Sins [Online], HowardSchatz.com, Available from: http:// howardschatz.com/the-seven-deadly-sins-high-fashion-division/ (Accessed 6 Nov 2019) 3. Paul S (2018), Makeup Artist Alex T Latest Editorial for ELLE Singapore October 2018 [Online], Fashioneditorials.com, Available from: https://fashioneditorials.com/makeup-artist-alex-t-latest-editorial-for-elle-singapore-october-2018/ (Accessed 1 Nov 2019) 4. Golovkin D (2014), FGR EXCLUSIVE | ANASTASIYA KOLBASKO BY DANIL GOLOVKIN IN “ADDICTED TO GLAMOUR” [Online], Fashiongonerogue.com, Available from: https://www.fashiongonerogue.com/fgr-exclusive-anastasiya-kolbasko-danil-golovkin-addicted-glamour/ (Accessed 25 Oct 2019) Page 65 1. Peters V (2008), Жизель в стеклянной коробченке [Online], Nicky Santoro, Available from: https://nicky2santoro.livejournal.com/930115.html (Accessed 5 Nov 2019) 2. Linderyd(no date), Sin City [Online], DonaldLinderydPhotography, Available from: http://www. dlinderyd.com/portfolio/fashion/sin-city/ (Accessed 1 Nov 2019) 3. Von Unwerth E(2017), “Let’s Party” [Online], Duchess Dior Blogspot, Available from: http://duchessdior.blogspot.com/2017/03/lets-party-by-ellen-von-unwerth-for.html (Accessed 10 Nov 2019)

UmbertoCantone (no date)