Federico Fellini, Sandra Milo, Marcello Mastroianni, Anouk Aimée, Barbara Steele and Madeleine Lebeau on the set of 8 and half (1963).
Check out Liv Ullmann by Philippe Le Telier here
Federico Fellini, Sandra Milo, Marcello Mastroianni, Anouk Aimée, Barbara Steele and Madeleine Lebeau on the set of 8 and half (1963).
Check out Liv Ullmann by Philippe Le Telier here
Donald Sutherland and Federico Fellini on the set of Fellini’s Casanova (1976).
Check out Nicole Kidman by Annie Leibvotiz here
Fellini, Peter Fonda and Warren Oates on the set of the movie ‘Roma’ in Cinecittà (Rome).
Check out Alfred Hitchcock in 1925 on set of The Pleasure Garden here
Federico Fellini on the set of 8 ½, photo by Tazio Secchiaroli.
Check out this candid shot of Vincent Cassel somewhere in the last decade.
Above, Sandra Milo during the filming of Juliet of the Spirits (1965, dir. Federico Fellini); below, a still from the completed scene.
I am not the author of these images.
Check out Fellini and Jeanne Moreau at the Cannes Film Festival right here
Milo Manara draw scenes from Federico Fellini’s films. “Cinema e fumetto, Federico Fellini e Milo Manara: un dialogo intenso e proficuo tra due grandi arti e due maestri italiani.” I found these images without their source, I think that they’re taken from this book: Fellini e Manara.
In order: the images are from ” Boccaccio ’70, La Dolce Vita, La Strada, and Satyricon”.
If you have a more reliable source, do leave a comment.
I am not the author of these images.
Check out Alfred Hitchcock’s films made into comics by Alberto Muriel here
La Strada (1954) by Federico Fellini starring Anthony Quinn and Giulietta Masina.
Unknown photographer for the colored photos. Black and White shots are by Federico Patellani :
Italian photographer and painter. He studied law before becoming a painter, and he was associated with various artistic movements in Lombardy, in particular the Chiaristi group, which was close to the avant-garde critic Edoardo Persico. Patellani took up photography in 1935, the same year in which he served in the war in East Africa. His first photographs were published in the Milanese newspaper L’Ambrosiano. In 1939 he became part of the team of photographers on the weekly magazine Tempo, which was inspired by the first great international illustrated magazines, in particular Life. Here, he devised the fototesta, an innovative way of presenting news stories using a large number of photographs with a few brief captions, the story thus being told mainly through images, with the photographer as narrator. This was the first time in Italy that the photographer was considered as an intellectual in his own right and not simply a subordinate craftsman.
I am not the author of these images.
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