La dolce vita has been a phenomenon since before it was made, a scandal in the making and on release and a reference point ever since. Much of what made it notorious was its incorporation of real people, events and lifestyles, making it a documentation of its time. It uses performance, camera movement, editing and music to produce a striking aesthetic mix of energy and listlessness, of exuberance and despair. This study will consider each of these aspects of the film – phenomenon, document, aesthetic – and argue that they are connected
"La Dolce Vita" describes my life's journey from a lower middle-class family to the ranks of a Fortune 500 executive while enduring the challenges of a lifetime of poor health. The learning is that a good life is possible if one looks upon adversity as a source of advantage while focusing on what’s important and managing the urgent appropriately.
La Dolce Vita University (LDVU) is the perfect sampler for anyone curious about (or already in amore with) Italy and its remarkably rich cultural gifts, both past and present. True to its lighthearted name, La Dolce Vita “U” is all about pleasurable learning, or what we prefer to call “edu-tainment.” Its dozens of entertaining yet authoritative mini-essays on a wide assortment of intriguing topics encourage random dipping at the reader’s pleasure. Even the most erudite Italophile will discover fun new facts and fascinating new insights in the pages of La Dolce Vita U. Mini-essays treat specific topics in one or more of the following subject areas: the Italian character; the visual arts (art, artists, architects); the performing arts (music, theater, cinema); history and antiquity; language and literature; cuisine and agriculture; wine and spirits; traditions and festivals; style and applied arts; unique places. In a wink and nod to the book’s “academic” identity, the 165 mini-essays are arranged alphabetically and accompanied by charming illustrations throughout. A special traveler’s topic index is provided at the end of the book.
Rejuvenate your life with these zesty Italian principles. America's yearning for living life with passion and serenity is answered in simple, concrete steps and examples of how to adopt the Mediterranean dolce vita, or "sweet life." Living La Dolce Vita will help you channel "the sweet life" through: --The power of family --The art of friendship --The unabashed joy of romance --Meals that nourish both body and soul
This book chronicles the demise of the supposedly leftist Italian cultural establishment during the long 1980s. During that time, the nation's literary and intellectual vanguard managed to lose the prominence handed it after the end of World War II and the defeat of Fascism. What emerged instead was a uniquely Italian brand of cultural capital that deliberately avoided any critical questioning of the prevailing order. Ricciardi criticizes the development of this new hegemonic arrangement in film, literature, philosophy, and art criticism. She focuses on several turning points: Fellini's futile, late-career critique of Berlusconi-style commercial television, Calvino's late turn to reactionary belletrism, Vattimo's nihilist and conservative responses to French poststructuralism, and Bonito Oliva's movement of art commodification, Transavanguardia.
Italy is the land of La Dolce Vita (“the sweet life”)—but also amore and now, erotica. Bestselling editor Maxim Jakubowski has compiled and translated more than 25 stories, featuring the best of Italian erotica written by women.
Motion picture producers and directors by Frank Burke
Federico Fellini remains the best known of the postwar Italian directors. This collection of essays brings Fellini criticism up to date, employing a range of recent critical filters, including semiotic, psychoanalytical, feminist and deconstructionist. Accordingly, a number of important themes arise - the reception of fascism, the crisis of the subject, the question of agency, homo-eroticism, feminism, and constructions of gender. Since the early 1970s, a slide in critical and theoretical attention to Fellini's work has corresponded with an assumption that his films are self-indulgent and lacking in political value. This volume moves the discussion towards a politics of signification, contending that Fellini's evolving self-reflexivity is not mere solipsism but rather a critique of both aesthetics and signification. The essays presented here are almost all new - the two exceptions being important signifiers in Fellini studies. The first, Frank Burke's "Federico Fellini: Reality/Representation/Signification" laid the foundation in the late 1980s for considering Fellini's work in the light of postmodernism. The second, Marguerite Waller's "Whose Dolce Vita is this Anyway?: The Language of Fellini's Cinema" (1990), provides a contemporary re-reading of Fellini's most successful film. This lively and ambitious collection brings a new critical language to bear on Fellini's films, offering fresh insights into their underlying issues and meaning. In bringing Fellini criticism up to date, it will have a significant impact on film studies, reclaiming this important director for a contemporary audience.
Someone powerful will fall. Someone greedy will die. Someone guilty will lose it all. Destiny has sealed their fate as husband and wife, but nothing has changed the Don. No evil will ever come between him and Mirabella again. Or so he thinks. Don Giovanni Battaglia has sacrificed all he intends to for la famiglia. The only obsession he has now is to preserve the love of his Bella Donna and protect his little brown, blue-eyed babies from his world. A vow he swore the Mafia could never divide. While she screams in the night from nightmares inflicted on her during her kidnapping and torture, he whispers new promises in her ear of la dolce vita. And his guilt driven by grief to cure her of the madness in her mind turns his inner demons on them both. They were to have a new beginning. The good life. But secrets both inside and outside of la camorra soon prove that love of family, love of la camorra, love of each other, may not be enough... Don Armando Mancini, Giovanni’s sworn enemy since they were kids, now possesses evidence of Lorenzo’s betrayal. Will he use his power to destroy the Don or does he have an even deeper desire inside? Isabella believes the final trap is set to avenge her father’s death and kill the Don. But her arrogance and years of manipulations finally catch up to her. Lorenzo Battaglia’s lie and betrayals close in on him, and his pregnant wife will do anything to protect them both. Mirabella wishes to take her family to America. Share her painful past. In doing so she and her sister uncover secrets so deeply buried in their family, they can either destroy or free them both. Blood will spill, love will be the ultimate casualty as hate and revenge consume the Battaglias. The good life is what they all want. But staying alive, staying in love, staying a family, may not be the life they deserve.