Description
Book SynopsisFederico Fellini's masterpiece
8 1/2 (
Otto e mezzo) shocked audiences around the world when it was released in 1963 by its sheer auteurist gall. The hero, a film director named Guido Anselmi, seemed to be Fellini's mirror image, and the story to reflect the making of 8 1/2 itself. Whether attacked for self-indulgence or extolled for self-consciousness,
8 1/2 became the paradigm of personal filmmaking, and numerous directors, including Fassbinder, Truffaut, Scorsese, Bob Fosse and Bruce LaBruce, paid homage to the film and its themes of personal and creative ennui in their own work. Now that
8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.'
8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of
8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man – and the artist – who fails his appointed social responsibilities.
Trade ReviewD.A. Miller's study of the film suggests that we can now see more clearly how tentative Fellini's groundbreaking incarnation always was, and its enduring timeliness, he argues, lies in its determined shirking of the shame that falls on the man – and the artist – who fails his appointed social responsibilities. -- Sight & Sound
...an excellent addition to one of the finest collections of film criticism ever collated...[Miller] makes an interesting and persuasive argument for his theory and, like much great criticism, sheds new light on a classic film. -- Laurence Boyce * Netribution *
Table of ContentsForeword to the 2022 Edition Prologue 1. From No One to Someone 2. From Auteur to Person 3. From Substance to Style Finale Acknowledgments Notes Credits
