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Frederick Soddy

Frederick Soddy FRS (2 September 1877 – 22 September 1956) was an English radiochemist who explained, with Ernest Rutherford, that radioactivity is due to the transmutation of elements, now known to involve nuclear reactions. He also proved the existence of isotopes of certain radioactive elements. In 1921 he received the Nobel Prize in Chemistry "for his contributions to our knowledge of the chemistry of radioactive substances, and his investigations into the origin and nature of isotopes". Soddy was a polymath who mastered chemistry, nuclear physics, statistical mechanics, finance and economics.

Biography
Soddy was born at 6 Bolton Road, Eastbourne, England, the son of Benjamin Soddy, corn merchant, and his wife Hannah Green. He went to school at Eastbourne College, before going on to study at University College of Wales at Aberystwyth and at Merton College, Oxford, where he graduated in 1898 with first class honours in chemistry. He was a researcher at Oxford from 1898 to 1900.

Scientific career
In 1900 he became a demonstrator in chemistry at McGill University in Montreal, Quebec, where he worked with Ernest Rutherford on radioactivity. He and Rutherford realized that the anomalous behaviour of radioactive elements was because they decayed into other elements. This decay also produced alpha, beta, and gamma radiation. When radioactivity was first discovered, no one was sure what the cause was. It needed careful work by Soddy and Rutherford to prove that atomic transmutation was in fact occurring.

In 1903, with Sir William Ramsay at University College London, Soddy showed that the decay of radium produced helium gas. In the experiment a sample of radium was enclosed in a thin-walled glass envelope sited within an evacuated glass bulb. After leaving the experiment running for a long period of time, a spectral analysis of the contents of the former evacuated space revealed the presence of helium. Later in 1907, Rutherford and Thomas Royds showed that the helium was first formed as positively charged nuclei of helium (He2+) which were identical to alpha particles, which could pass through the thin glass wall but were contained within the surrounding glass envelope.

From 1904 to 1914, Soddy was a lecturer at the University of Glasgow. Ruth Pirret worked as his research assistant during this time. In May 1910 Soddy was elected a Fellow of the Royal Society. In 1914 he was appointed to a chair at the University of Aberdeen, where he worked on research related to World War I.

In 1913, Soddy showed that an atom moves lower in atomic number by two places on alpha emission, higher by one place on beta emission. This was discovered at about the same time by Kazimierz Fajans, and is known as the radioactive displacement law of Fajans and Soddy, a fundamental step toward understanding the relationships among families of radioactive elements. In 1913 Soddy also described the phenomenon in which a radioactive element may have more than one atomic mass though the chemical properties are identical. He named this concept isotope meaning "same place". The word was initially suggested to him by Margaret Todd. Later, J. J. Thomson showed that non-radioactive elements can also have multiple isotopes.

The work that Soddy and his research assistant Ada Hitchins did at Glasgow and Aberdeen showed that uranium decays to radium.

Soddy published The Interpretation of Radium (1909) and Atomic Transmutation (1953).

In 1918, working with the Scottish scientist John Arnold Cranston, he announced the discovery of an isotope of the element later named protactinium. This slightly post-dated its discovery by the Germans Lise Meitner and Otto Hahn; however, it is said their discovery was actually made in 1915 but its announcement was delayed due to Cranston's notes being locked away whilst on active service in the First World War.

In 1919 he moved to the University of Oxford as the first Dr. Lee's Professor of Chemistry, where, in the period up till 1936, he reorganized the laboratories and the syllabus in chemistry. He received the 1921 Nobel Prize in chemistry for his research in radioactive decay and particularly for his formulation of the theory of isotopes.

His work and essays popularising the new understanding of radioactivity was the main inspiration for H. G. Wells's The World Set Free (1914), which features atomic bombs dropped from biplanes in a war set many years in the future. Wells's novel is also known as The Last War and imagines a peaceful world emerging from the chaos. In Wealth, Virtual Wealth and Debt Soddy praises Wells's The World Set Free. He also says that radioactive processes probably power the stars.

Economics
In four books written from 1921 to 1934, Soddy carried on a "campaign for a radical restructuring of global monetary relationships", offering a perspective on economics rooted in physics – the laws of thermodynamics, in particular – and was "roundly dismissed as a crank". While most of his proposals – "to abandon the gold standard, let international exchange rates float, use federal surpluses and deficits as macroeconomic policy tools that could counter cyclical trends, and establish bureaus of economic statistics (including a consumer price index) in order to facilitate this effort" – are now conventional practice, his critique of fractional-reserve banking still "remains outside the bounds of conventional wisdom" although a recent paper by the IMF reinvigorated his proposals. Soddy wrote that financial debts grew exponentially at compound interest but the real economy was based on exhaustible stocks of fossil fuels. Energy obtained from the fossil fuels could not be used again. This criticism of economic growth is echoed by his intellectual heirs in the now emergent field of ecological economics.

The New Palgrave Dictionary of Economics, an influential reference text in economics, recognized Soddy as a "reformer" for his works on monetary reforms.

Political views
In Wealth, Virtual Wealth and Debt, Soddy cited the Protocols of the Learned Elders of Zion, which had been widely disseminated by Henry Ford in the United States, as evidence that the belief in a "financial conspiracy to enslave the world" was widespread at the time. He further wrote that "conscious conspiracy or not a corrupt monetary system strikes at the very life of the nation". Later in life he published a pamphlet Abolish Private Money, or Drown in Debt (1939).

The influence of his writing can be gauged, for example, in this quote from Ezra Pound: "Professor Frederick Soddy states that the Gold Standard monetary system has wrecked a scientific age! ... The world's bankers ... have not been content to take their share of modern wealth production – great as it has been – but they have refused to allow the masses of mankind to receive theirs."

Though some activists have insubstantially accused Soddy of anti-Semitism, most of his biographers dispute this narrative and argue that among Soddy's friends and students were some Jews who held positive views of him.

Descartes' theorem
He rediscovered the Descartes' theorem in 1936 and published it as a poem, "The Kiss Precise", quoted at Problem of Apollonius. The kissing circles in this problem are sometimes known as Soddy circles.

Honours and awards
He received the Nobel Prize in Chemistry in 1921 and the same year he was elected member of the International Atomic Weights Committee. A small crater on the far side of the Moon as well as the radioactive uranium mineral soddyite are named after him. The author H. G. Wells dedicated his novel The World Set Free to Soddy's Interpretation of Radium (1909).

Personal life
In 1908, Soddy married Winifred Moller Beilby (1885-1936), the daughter of industrial chemist Sir George Beilby and Lady Emma Bielby, a philanthropist to women's causes. The couple worked together and co-published a paper in 1910 on the absorption of gamma rays from radium. He died in Brighton, England in 1956, twenty days after his 79th birthday.

title: Frederick Soddy


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Fur seal

Fur seals are any of nine species of pinnipeds belonging to the subfamily Arctocephalinae in the family Otariidae. They are much more closely related to sea lions than true seals, and share with them external ears (pinnae), relatively long and muscular foreflippers, and the ability to walk on all fours. They are marked by their dense underfur, which made them a long-time object of commercial hunting. Eight species belong to the genus Arctocephalus and are found primarily in the Southern Hemisphere, while a ninth species also sometimes called fur seal, the Northern fur seal (Callorhinus ursinus), belongs to a different genus and inhabits the North Pacific. The fur seals in Arctocephalus are more closely related to sea lions than they are to the Northern fur seal, but all three groups are more closely related to one another than they are to true seals.

Taxonomy
Fur seals and sea lions make up the family Otariidae. Along with the Phocidae and Odobenidae, ottariids are pinnipeds descending from a common ancestor most closely related to modern bears (as hinted by the subfamily Arctocephalinae, meaning "bear-headed"). The name pinniped refers to mammals with front and rear flippers. Otariids arose about 15-17 million years ago in the Miocene, and were originally land mammals that rapidly diversified and adapted to a marine environment, giving rise to the semiaquatic marine mammals that thrive today. Fur seals and sea lions are closely related and commonly known together as the "eared seals". Until recently, fur seals were all grouped under a single subfamily of Pinnipedia, called the Arctocephalinae, to contrast them with Otariinae – the sea lions – based on the most prominent common feature, namely the coat of dense underfur intermixed with guard hairs. Recent genetic evidence, however, suggests Callorhinus is more closely related to some sea lion species, and the fur seal/sea lion subfamily distinction has been eliminated from many taxonomies. Nonetheless, all fur seals have certain features in common: the fur, generally smaller sizes, farther and longer foraging trips, smaller and more abundant prey items, and greater sexual dimorphism. For these reasons, the distinction remains useful. Fur seals comprise two genera: Callorhinus, and Arctocephalus. Callorhinus is represented by just one species in the Northern Hemisphere, the northern fur seal (Callorhinus ursinus), and Arctocephalus is represented by eight species in the Southern Hemisphere. The southern fur seals comprising the genus Arctocephalus include Antarctic fur seals, Galapagos fur seals, Juan Fernandez fur seals, New Zealand fur seals, brown fur seals, South American fur seals, and subantarctic fur seals.

Physical appearance
Along with the previously mentioned thick underfur, fur seals are distinguished from sea lions by their smaller body structure, greater sexual dimorphism, smaller prey, and longer foraging trips during the feeding cycle. The physical appearance of fur seals varies with individual species, but the main characteristics remain constant.

Fur seals are characterized by their external pinnae, dense underfur, vibrissae, and long, muscular limbs. They share with other otariids the ability to rotate their rear limbs forward, supporting their bodies and allowing them to ambulate on land. In water, their front limbs, typically measuring about a fourth of their body length, act as oars and can propel them forward for optimal mobility. The surfaces of these long, paddle-like fore limbs are leathery with small claws. Otariids have a dog-like head, sharp, well-developed canines, sharp eyesight, and keen hearing.

They are extremely sexually dimorphic mammals, with the males often two to five times the size of the females, with proportionally larger heads, necks, and chests. Size ranges from about 1.5 m, 64 kg in the male Galapagos fur seal (also the smallest pinniped) to 2.5 m, 180 kg in the adult male New Zealand fur seal. Most fur seal pups are born with a black-brown coat that molts at 2–3 months, revealing a brown coat that typically gets darker with age. Some males and females within the same species have significant differences in appearance, further contributing to the sexual dimorphism. Females and juveniles often have a lighter colored coat overall or only on the chest, as seen in South American fur seals. In a northern fur seal population, the females are typically silvery-gray on the dorsal side and reddish-brown on their ventral side with a light gray patch on their chest. This makes them easily distinguished from the males with their brownish-gray to reddish-brown or black coats.

Habitat
Of the fur seal family, eight species are considered southern fur seals, and only one is found in the Northern Hemisphere. The southern group includes Antarctic, Galapagos, Guadalupe, Juan Fernandez, New Zealand, brown, South American, and subantarctic fur seals. They typically spend about 70% of their lives in subpolar, temperate, and equatorial waters. Colonies of fur seals can be seen throughout the Pacific and Southern Oceans from south Australia, Africa, and New Zealand, to the coast of Peru and north to California. They are typically nonmigrating mammals, with the exception of the northern fur seal, which has been known to travel distances up to 10,000 km. Fur seals are often found near isolated islands or peninsulas, and can be seen hauling out onto the mainland during winter. Although they are not migratory, they have been observed wandering hundreds of miles from their breeding grounds in times of scarce resources. For example, the subantarctic fur seal typically resides near temperate islands in the South Atlantic and Indian Oceans north of the Antarctic Polar Front, but juvenile males have been seen wandering as far north as Brazil and South Africa.

Behavior and ecology
Typically, fur seals gather during the summer in large rookeries at specific beaches or rocky outcrops to give birth and breed. All species are polygynous, meaning dominant males reproduce with more than one female. For most species, total gestation lasts about 11.5 months, including a several-month period of delayed implantation of the embryo. Northern fur seal males aggressively select and defend the specific females in their harems. Females typically reach sexual maturity around 3–4 years. The males reach sexual maturity around the same time, but do not become territorial or mate until 6–10 years.

The breeding season typically begins in November and lasts 2–3 months. The northern fur seals begin their breeding season as early as June due to their region, climate, and resources. In all cases, the males arrive a few weeks early to fight for their territory and groups of females with which to mate. They congregate at rocky, isolated breeding grounds and defend their territory through fighting and vocalization. Males typically do not leave their territory for the entirety of the breeding season, fasting and competing until all energy sources are depleted.

The Juan Fernandez fur seals deviate from this typical behavior, using aquatic breeding territories not seen in other fur seals. They use rocky sites for breeding, but males fight for territory on land and on the shoreline and in the water. Upon arriving to the breeding grounds, females give birth to their pups from the previous season. About a week later, the females mate again and shortly after begin their feeding cycle, which typically consists of foraging and feeding at sea for about 5 days, then returning to the breeding grounds to nurse the pups for about 2 days. Mothers and pups locate each other using call recognition during nursing period. The Juan Fernandez fur seal has a particularly long feeding cycle, with about 12 days of foraging and feeding and 5 days of nursing. Most fur seals continue this cycle for about 9 months until they wean their pup. The exception to this is the Antarctic fur seal, which has a feeding cycle that lasts only 4 months. During foraging trips, most female fur seals travel around 200 km from the breeding site, and can dive around 200 m depending on food availability.

The remainder of the year, fur seals lead a largely pelagic existence in the open sea, pursuing their prey wherever it is abundant. They feed on moderately sized fish, squid, and krill. Several species of the southern fur seal also have sea birds, especially penguins, as part of their diets. Fur seals, in turn, are preyed upon by sharks, orcas, and occasionally by larger sea lions. These opportunistic mammals tend to feed and dive in shallow waters at night, when their prey are swimming near the surface. Fur seals occasionally gang up and evict sharks. South American fur seals exhibit a different diet; adults feed almost exclusively on anchovies, while juveniles feed on demersal fish, most likely due to availability.

When fur seals were hunted in the late 18th and early 19th centuries, they hauled out on remote islands where no predators were present. The hunters reported being able to club the unwary animals to death one after another, making the hunt profitable, though the price per seal skin was low.

Population and survival
The average lifespan of fur seals varies with different species from 13 to 25 years, with females typically living longer. Most populations continue to expand as they recover from previous commercial hunting and environmental threats. Many species were heavily exploited by commercial sealers, especially during the 19th century, when their fur was highly valued. Beginning in the 1790s, the ports of Stonington and New Haven, Connecticut, were leaders of the American fur seal trade, which primarily entailed clubbing fur seals to death on uninhabited South Pacific islands, skinning them, and selling the hides in China. Many populations, notably the Guadalupe fur seal, northern fur seal, and Cape fur seal, suffered dramatic declines and are still recovering. Currently, most species are protected, and hunting is mostly limited to subsistence harvest. Globally, most populations can be considered healthy, mostly because they often prefer remote habitats that are relatively inaccessible to humans. Nonetheless, environmental degradation, competition with fisheries, and climate change potentially pose threats to some populations.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Fur seal


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Frisian

Frisian(s) most often refers to:

Frisian or Friesian may also refer to:
 * Frisia, a cross-border coastal region in Germany and the Netherlands
 * Frisians, the medieval and modern ethnic group inhabiting Frisia
 * Frisii, the ancient inhabitants of Frisia prior to 600 AD
 * Frisian languages, a group of West Germanic languages, including:
 * Old Frisian, spoken in Frisia from the 8th to 16th Century
 * Middle Frisian, spoken in Frisia from the 16th to 19th Century
 * North Frisian language, spoken in Schleswig-Holstein, Germany
 * Saterland Frisian language, spoken in Lower Saxony, Germany
 * West Frisian language, spoken in Friesland, Netherlands
 * Frisian cuisine, the traditional recipes and cooking methods of Frisia

Animal breeds

 * Friesian (chicken), a Dutch breed of chicken
 * East Friesian sheep, a breed of sheep notable for its high production of milk
 * Friesian horse, a horse breed from Friesland
 * Friesian Sporthorse, a type of Frisian cross, bred specifically for sport horse disciplines
 * Holstein Friesian cattle, a widespread black-and-white breed of dairy cattle

Other uses

 * Friesan Fire, a horse that ran in the 2009 Kentucky Derby
 * Frisian horse or cheval de frise, a type of military barrier
 * Frisian School, a school of philosophy based on the works of Jakob Friedrich Fries
 * Frisian Solar Challenge, a solar-powered boat race

title: Frisian


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Fauna (disambiguation)

Fauna is a collective term for animal life.

Fauna may also refer to:
 * Fauna (deity), an ancient Roman goddess
 * Fauna, Bloemfontein, a suburb of the South African city of Bloemfontein
 * Fauna (Oh Land album), a 2008 album by Oh Land
 * Fauna (Haken album), a 2023 album by Haken
 * Fauna (film), a 2020 Mexican/Canadian drama film
 * Fauna, a fictional character from Disney's Sleeping Beauty, see Flora, Fauna, and Merryweather
 * Fauna, a 2009 Spiel des Jahres-nominated board game
 * Fauna, a female character in Sweet Thursday, a novel by John Steinbeck
 * Florian-Ayala Fauna, American artist, musician, and music producer
 * Ceres Fauna, a VTuber from Hololive English

title: Fauna (disambiguation)


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Federico Fellini

Federico Fellini (20 January 1920 – 31 October 1993) was an Italian film director and screenwriter. He is known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du Cinéma and Sight & Sound, which lists his 1963 film $8 1⁄2$ as the 10th-greatest film.

Fellini's best-known films include I vitelloni (1953), La Strada (1954), Nights of Cabiria (1957), La Dolce Vita (1960), 8½ (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976).

Fellini was nominated for 17 Academy Awards over the course of his career, winning a total of four in the category of Best Foreign Language Film (the most for any director in the history of the award). He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. Fellini also won the Palme d'Or for La Dolce Vita in 1960, two times the Moscow International Film Festival in 1963 and 1987, and the Career Golden Lion at the 42nd Venice International Film Festival in 1985. In Sight & Sound`s 2002 list of the greatest directors of all time, Fellini was ranked 2nd in the directors' poll and 7th in the critics' poll.

Rimini (1920–1938)
Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. On 25 January, at the San Nicolò church he was baptized Federico Domenico Marcello Fellini. His father, Urbano Fellini (1894–1956), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida Barbiani (1896–1984), came from a bourgeois Catholic family of Roman merchants. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola. A civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later.

The couple settled in Rimini where Urbano became a traveling salesman and wholesale vendor. Fellini had two siblings, Riccardo (1921–1991), a documentary director for RAI Television, and Maria Maddalena (m. Fabbri; 1929–2002).

In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonini public school two years later. An attentive student, he spent his leisure time drawing, staging puppet shows and reading Il corriere dei piccoli, the popular children's magazine that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. (Opper's Happy Hooligan would provide the visual inspiration for Gelsomina in Fellini's 1954 film La Strada; McCay's Little Nemo would directly influence his 1980 film City of Women.) In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown and the movies. Guido Brignone's Maciste all'inferno (1925, Maciste in Hell), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career.

Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi Titta Benzi, later a prominent Rimini lawyer (and the model for young Titta in Amarcord (1973)). In Mussolini's Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). The sea creature found on the beach at the end of La Dolce Vita (1960) has its basis in a giant fish marooned on a Rimini beach during a storm in 1934.

Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), $8 1⁄2$ (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions: "It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them."

In 1937, Fellini opened Febo, a portrait shop in Rimini, with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan's Domenica del Corriere. Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. According to a biographer, Fellini found school "exasperating" and, in one year, had 67 absences. Failing his military culture exam, he graduated from high school in 1939.

Rome (1939)
In September 1939, he enrolled in law school at the Sapienza University of Rome to please his parents. Biographer Hollis Alpert reports that "there is no record of his ever having attended a class". Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma, but quit after a short stint, bored by the local court news assignments.

Four months after publishing his first article in Marc'Aurelio, the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled But Are You Listening?. Described as "the determining moment in Fellini's life", the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show business and cinema. Among his collaborators on the magazine's editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter. Conducting interviews for CineMagazzino also proved congenial: when asked to interview Aldo Fabrizi, Italy's most popular variety performer, he established such immediate personal rapport with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young protégé.

Early screenplays (1940–1943)
Retained on business in Rimini, Urbano sent wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of Marc'Aurelio, began writing radio sketches and gags for films.

Not yet twenty and with Fabrizi's help, Fellini obtained his first screen credit as a comedy writer on Mario Mattoli's Il pirata sono io (The Pirate's Dream). Progressing rapidly to numerous collaborations on films at Cinecittà, his circle of professional acquaintances widened to include novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of Mussolini's declaration of war against France and Britain on 10 June 1940, Fellini discovered Kafka's The Metamorphosis, Gogol, John Steinbeck and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier. In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego.

Writing for radio while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war. "Giulietta is practical, and likes the fact that she earns a handsome fee for her radio work, whereas theater never pays well. And of course the fame counts for something too. Radio is a booming business and comedy reviews have a broad and devoted public." In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto (Knights of the Desert, 1942), directed by Osvaldo Valenti and Gino Talamo. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order". Responsible for emergency re-writing, he also directed the film's first scenes. When Tripoli fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to Sicily. His African adventure, later published in Marc'Aurelio as "The First Flight", marked "the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field".

The apolitical Fellini was finally freed of the draft when an Allied air raid over Bologna destroyed his medical records. Fellini and Giulietta hid in her aunt's apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of encephalitis 11 days later on 2 April 1945. Masina and Fellini had no other children. The tragedy had enduring emotional and artistic repercussions.

Neorealist apprenticeship (1944–1949)
After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met Fellini in his shop, and proposed he contribute gags and dialogue for the script. Aware of Fellini's reputation as Aldo Fabrizi's "creative muse", Rossellini also requested that he try to convince the actor to play the role of Father Giuseppe Morosini, the parish priest executed by the SS on 4 April 1944.

In 1947, Fellini and Sergio Amidei received an Oscar nomination for the screenplay of Rome, Open City.

Working as both screenwriter and assistant director on Rossellini's Paisà (Paisan) in 1946, Fellini was entrusted to film the Sicilian scenes in Maiori. In February 1948, he was introduced to Marcello Mastroianni, then a young theatre actor appearing in a play with Giulietta Masina. Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director's Senza pietà (Without Pity) and Il mulino del Po (The Mill on the Po). Fellini also worked with Rossellini on the anthology film L'Amore (1948), co-writing the screenplay and in one segment titled, "The Miracle", acting opposite Anna Magnani. To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

Early films (1950–1953)
In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada's wife, Carla Del Poggio. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade. In February 1950, Paisà received an Oscar nomination for the screenplay by Rossellini, Sergio Amidei, and Fellini.

After travelling to Paris for a script conference with Rossellini on Europa '51, Fellini began production on The White Sheik in September 1951, his first solo-directed feature. Starring Alberto Sordi in the title role, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Producer Carlo Ponti commissioned Fellini and Tullio Pinelli to write the script but Antonioni rejected the story they developed. With Ennio Flaiano, they re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to visit the Pope. Ivan's prissy mask of respectability is soon demolished by his wife's obsession with the White Sheik. Highlighting the music of Nino Rota, the film was selected at Cannes (among the films in competition was Orson Welles's Othello) and then retracted. Screened at the 13th Venice International Film Festival, it was razzed by critics in "the atmosphere of a soccer match". One reviewer declared that Fellini had "not the slightest aptitude for cinema direction".

In 1953, I Vitelloni found favour with the critics and public. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.

Beyond neorealism (1954–1960)

Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano. During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression. Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.

Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone. Based partly on stories told to him by a petty thief during production of La Strada, Fellini developed the script into a con man's slow descent. To incarnate the role's "intense, tragic face", Fellini's first choice had been Humphrey Bogart, but after learning of the actor's lung cancer, chose Crawford after seeing his face on the theatrical poster of All the King's Men (1949). The film shoot was wrought with difficulties stemming from Crawford's alcoholism. Savaged by critics at the 16th Venice International Film Festival, the film did miserably at the box office and did not receive international distribution until 1964.

During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobino's novel, The Free Women of Magliano. Set in a mental institution for women, the project was abandoned when financial backers considered the subject had no potential. While preparing Nights of Cabiria in spring 1956, Fellini learned of his father's death by cardiac arrest at the age of sixty-two. Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration from news reports of a woman's severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone. Pier Paolo Pasolini was hired to translate Flaiano and Pinelli's dialogue into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the Academy Award for Best Foreign Language Film at the 30th Academy Awards and brought Masina the Best Actress Award at Cannes for her performance.

With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral. Due to Loren's unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini. For Eduardo De Filippo, he co-wrote the script of Fortunella.

The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto. The scandal provoked by Turkish dancer Haish Nana's improvised striptease at a nightclub captured Fellini's imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside villa. Pierluigi Praturlon's photos of Anita Ekberg after an evening spent with the actress in a Rome night club provided further inspiration for Fellini and his screenwriters.

Changing the title of the screenplay to La Dolce Vita, Fellini soon clashed with his producer on casting: The director insisted on the relatively unknown Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment. Reaching an impasse, De Laurentiis sold the rights to publishing mogul Angelo Rizzoli. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peter's in a mammoth décor constructed at Cinecittà. The statue of Christ flown by helicopter over Rome to St. Peter's Square was inspired by an actual media event on 1 May 1956, which Fellini had witnessed.

La Dolce Vita broke all box office records. Despite scalpers selling tickets at 1000 lire, crowds queued in line for hours to see an "immoral movie" before the censors banned it. At an exclusive Milan screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the film's controversial themes. The Vatican's official press organ, L'Osservatore Romano, lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences. In competition at Cannes alongside Antonioni's L'Avventura, the film won the Palme d'Or awarded by presiding juror Georges Simenon. The Belgian writer was promptly "hissed at" by the disapproving festival crowd.

Art films and dreams (1961–1969)
A major discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD. Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions" were now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric". As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious directly influenced such films as $8 1⁄2$ (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980). Other key influences on his work include Luis Buñuel, Charlie Chaplin, Sergei Eisenstein, Buster Keaton, Laurel and Hardy, the Marx Brothers, and Roberto Rossellini.

Exploiting La Dolce Vita's success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolini's project, Accattone (1961).

Condemned as a "public sinner", for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio '70. His second colour film, it was the sole project green-lighted at Federiz. Infused with the surrealistic satire that characterized the young Fellini's work at Marc'Aurelio, the film ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.

In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: "Well then – a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system." Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film", in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie's title. Under pressure from his producers, Fellini finally settled on $8 1⁄2$, a self-referential title referring principally (but not exclusively) to the number of films he had directed up to that time.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome. He hired cinematographer Gianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living. The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of $8 1⁄2$, Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make". The self-mirroring structure makes the entire film inseparable from its reflecting construction.

Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director's American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional — the realm of fantasy". After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares that would later become signature tunes of the maestro's cinema. Nominated for four Oscars, $8 1⁄2$ won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured Disneyland with Walt Disney the day after.

Increasingly attracted to parapsychology, Fellini met the Turin antiquarian Gustavo Rol in 1963. Rol, a former banker, introduced him to the world of Spiritism and séances. In 1964, Fellini took LSD under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada. For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that "... objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one."

Fellini's hallucinatory insights were given full flower in his first colour feature Juliet of the Spirits (1965), depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy (Sandra Milo) introduces Juliet to a world of uninhibited sensuality, but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota.

Nostalgia, sexuality, and politics (1970–1980)
To help promote Satyricon in the United States, Fellini flew to Los Angeles in January 1970 for interviews with Dick Cavett and David Frost. He also met with film director Paul Mazursky who wanted to cast him in a starring role alongside Donald Sutherland in his new film, Alex in Wonderland. In February, Fellini scouted locations in Paris for The Clowns, a docufiction both for cinema and television, based on his childhood memories of the circus and a "coherent theory of clowning." As he saw it, the clown "was always the caricature of a well-established, ordered, peaceful society. But today all is temporary, disordered, grotesque. Who can still laugh at clowns?... All the world plays a clown now."

In March 1971, Fellini began production on Roma, a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences," writes Fellini scholar Peter Bondanella, "are held together only by the fact that they all ultimately originate from the director's fertile imagination." The film's opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons.

Over a period of six months between January and June 1973, Fellini shot the Oscar-winning Amarcord. Loosely based on the director's 1968 autobiographical essay My Rimini, the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellini's second biggest commercial success after La Dolce Vita. Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma. The director's overriding concern with developing a poetic form of cinema was first outlined in a 1965 interview he gave to The New Yorker journalist Lillian Ross: "I am trying to free my work from certain constrictions – a story with a beginning, a development, an ending. It should be more like a poem with metre and cadence."

Late films and projects (1981–1990)
Organized by his publisher Diogenes Verlag in 1982, the first major exhibition of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York. A gifted caricaturist, he found much of the inspiration for his sketches from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, I disegni di Fellini (Fellini's Designs), he published 350 drawings executed in pencil, watercolours, and felt pens.

On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival. That same year, he became the first non-American to receive the Film Society of Lincoln Center's annual award for cinematic achievement. Long fascinated by Carlos Castaneda's The Teachings of Don Juan: A Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a journey to the Yucatán to assess the feasibility of a film. After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun. Producer Alberto Grimaldi, prepared to buy film rights to all of Castaneda's work, then paid for pre-production research taking Fellini and his entourage from Rome to Los Angeles and the jungles of Mexico in October 1985. When Castaneda inexplicably disappeared and the project fell through, Fellini's mystico-shamanic adventures were scripted with Pinelli and serialized in Corriere della Sera in May 1986. A barely veiled satirical interpretation of Castaneda's work, Viaggio a Tulun was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990.

For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafka's Amerika. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the world's best director and $8 1⁄2$ the best European film of all time.

In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzoni's novel, Il poema dei lunatici (The Lunatics' Poem). A small town was built at Empire Studios on the via Pontina outside Rome. Starring Roberto Benigni as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi. Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli. Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.

Fellini won the Praemium Imperiale, an international prize in the visual arts given by the Japan Art Association in 1990.

Final years (1991–1993)
In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish "the longest and most detailed conversations ever recorded on film". Described as the "Maestro's spiritual testament" by his biographer Tullio Kezich, excerpts culled from the conversations later served as the basis of their feature documentary, Fellini: I'm a Born Liar (2002) and the book, I'm a Born Liar: A Fellini Lexicon.

In April 1993 Fellini received his fifth Oscar, for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in Zürich for an angioplasty on his femoral artery but suffered a stroke at Rimini's Grand Hotel two months later. Partially paralyzed, he was first transferred to Ferrara for rehabilitation and then to the Policlinico Umberto I in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible coma.

Death
Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier, a day after his 50th wedding anniversary. The memorial service, in Studio 5 at Cinecittà, was attended by an estimated 70,000 people. At Giulietta Masina's request, trumpeter Mauro Maur played Nino Rota's "Improvviso dell'Angelo" during the ceremony.

Five months later, on 23 March 1994, Masina died of lung cancer. Fellini is buried with Masina and their son, Pierfederico, in a bronze sepulchre sculpted by Arnaldo Pomodoro in the Monumental Cemetery of Rimini. Rimini's Federico Fellini Airport is named in his honour.

Religious views
Fellini was raised in a Roman Catholic family and considered himself a Catholic, but avoided formal activity in the Catholic Church. Fellini's films include Catholic themes; some celebrate Catholic teachings, while others criticize or ridicule church dogma.

In 1965 Fellini said: "I go to church only when I have to shoot a scene in church, or for an aesthetic or nostalgic reason. For faith, you can go to a woman. Maybe that is more religious."

Political views
While Fellini was for the most part indifferent to politics, he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being". In a 1966 interview, he said, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics."

Despite various famous Italian actors favouring the Communists, Fellini was opposed to communism. He preferred to move within the world of the moderate left, and voted for the Italian Republican Party of his friend Ugo La Malfa as well as the reformist socialists of Pietro Nenni, another friend of his, and voted only once for the Christian Democracy party (Democrazia Cristiana, DC) in 1976 to keep the Communists out of power. Bondanella writes that DC "was far too aligned with an extremely conservative and even reactionary pre-Vatican II church to suit Fellini's tastes."

Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred, Fellini rarely expressed political views in public and never directed an overtly political film. He directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party (PRI). His slogan "Non si interrompe un'emozione" (Don't interrupt an emotion) was directed against the excessive use of TV advertisements. The Democratic Party of the Left also used the slogan in the referendums of 1995.

Influence and legacy

Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general". La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).

Contemporary filmmakers such as Martin Scorsese, Woody Allen, Pedro Almodóvar, Roy Andersson, Darren Aronofsky, Greta Gerwig, Ari Aster, Tim Burton, Terry Gilliam, Emir Kusturica, Peter Greenaway, Alejandro González Iñárritu, Luca Guadagnino, Alejandro Jodorowsky, Yorgos Lanthimos, George Lucas, David Lynch, Paolo Sorrentino, and Giuseppe Tornatore have cited Fellini's influence on their work.

Polish director Wojciech Has, whose two best-received films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973), are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".

Roman Polanski considered Fellini to be among the three film-makers he favored most, along with Akira Kurosawa and Orson Welles.

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and influenced Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1982), among many others. When the American magazine Cinema asked Stanley Kubrick in 1963 to name his ten favorite films, he ranked I Vitelloni number one.

International film directors who have named La Strada as one of their favorite films include Stanley Kwan, Anton Corbijn, Gillies MacKinnon, Andreas Dresen, Jiří Menzel, Adoor Gopalakrishnan, Mike Newell, Rajko Grlić, Spike Lee, Laila Pakalniņa, Ann Hui, Akira Kurosawa, Kazuhiro Soda, Julian Jarrold, Krzysztof Zanussi, and Andrey Konchalovsky. David Cronenberg credits La Strada for opening his eyes to the possibilities of cinema when, as a child, he saw adults leave a showing of the film openly weeping.

Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992.

$8 1⁄2$ inspired, among others, Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Película del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), $8 1⁄2$ Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), and the Broadway musical Nine (Maury Yeston and Arthur Kopit, 1982). Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini inspired by $8 1⁄2$.

Alice by Woody Allen is a loose reworking of Fellini's 1965 film Juliet of the Spirits.

Fellini's work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by Bob Dylan with Motorpsycho Nitemare, Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R.E.M. American singer Lana Del Rey has cited Fellini as an influence. His work influenced the American TV shows Northern Exposure and Third Rock from the Sun. Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini. In 1996, Entertainment Weekly ranked Fellini tenth on its "50 Greatest Directors" list. In 2002 MovieMaker magazine ranked Fellini No. 9 on their list of The 25 Most Influential Directors of All Time. In 2007, Total Film magazine ranked Fellini at No. 67 on its "100 Greatest Film Directors Ever" list.

Various film-related material and personal papers of Fellini are in the Wesleyan University Cinema Archives, to which scholars and media experts have full access. In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, The Book of Dreams (based on 30 years of the director's illustrated dreams and notes), along with excerpts from La dolce vita and $8 1⁄2$.

In 2014 the weekly entertainment-trade magazine Variety announced that French director Sylvain Chomet was moving forward with The Thousand Miles, a project based on various Fellini works, including his unpublished drawings and writings.

Filmography
Television commercials
 * TV commercial for Campari Soda (1984)
 * TV commercial for Barilla pasta (1984)
 * Three TV commercials for Banca di Roma (1992)

Documentaries on Fellini

 * Ciao Federico (1969). Dir. Gideon Bachmann (60').
 * Federico Fellini – un autoritratto ritrovato (2000). Dir. Paquito Del Bosco (RAI TV, 68').
 * Fellini: I'm a Born Liar (2002). Dir. Damian Pettigrew. Feature documentary (Arte, Eurimages, Scottish Screen, 102').
 * How Strange to Be Named Federico (2013). Dir. Ettore Scola.
 * Fellini degli spiriti (2020). Dir. Selma Dell'Olio.

title: Federico Fellini