The School of International Communications presents the Federico Fellini film retrospective closing night. Dr David Fleming from the School will deliver an opening talk to introduce the film with a contextual and theoretical discussion.
About the film
La Dolce Vita, Italian for "the sweet life" or "the good life") is a 1960 comedy-drama film written and directed by the critically acclaimed director Federico Fellini. The film is a story of a passive journalist's week in Rome, and his search for both happiness and love that will never come.
To this day, La Dolce Vita remains a classic and one of the most critically acclaimed films of all time. La Dolce Vita was hailed as "one of the most widely seen and acclaimed European movies of the 1960s" by The New York Times. It was nominated for four Academy Awards, winning one for Best Costume Design: Black-and-White. La Dolce Vita also earned the Palme d'Or (Golden Palm) at the 1960 Cannes Film Festival. It was voted the 6th Greatest film of all time by Entertainment Weekly and was ranked #11 in Empire magazine's "The 100 Best Films Of World Cinema". The film has also influenced or else been referenced in contemporary films, television shows, and songs.
About the filmmaker
Federico Fellini is one of the most influential and popular Italian filmmakers of the 20th Century. His career in cinema spanned five decades and he gained much critical acclaim. He won many awards including four Oscars in the Best Foreign Language category. His films offer a combination of themes including memory, dreams, fantasy and desire.
Dr David Fleming is an Assistant Professor in Film, Media and Communications in the School of International Communications. Principal research interests include new film-philosophy, the interface between body, brain and artistic technologies through a Deleuze-Guattarian lens: with a particular focus upon how cinematic bodies and spaces are constructed and affectively utilised. The relations between film and thought and modes of human perception. Dr Fleming is also interested in the relationship between Deleuze’s cinematic models and the so called 'Urban Generation' of Chinese filmmakers.