Journal of Film Preservation - FIAF

Rimini: La Fondazione Federico Fellini
Vittorio Boarini
News from the
Archives
Nouvelles des
archives
Noticias de los
archivos
Federico Fellini
Courtesy of Cinémathèque Suisse,
Lausanne
The Fondazione Fellini was established in Rimini, birthplace of the
director, in 1995. Its statutory aim could be described as preserving,
enriching and handing down the historical memory of the man who
was admired and honoured by the whole cinema world. Although this
definition might be clear enough, it is less so in the case of the means
through which the aim might be reached. That was the reason why the
Fondazione, during the first years of its existence, was searching for its
particular identity, wavering between identifying materials to purchase
and promoting events.
On the one hand, these two activities could co-exist perfectly well. On
the other, it was difficult to create a cultural institution with the right
balance between acquisitions – having regard also to their preservation
and how to place them at people’s disposal - and events. However, it is
normal for a new entity to have an adjustment period, especially if
there are no precedents to refer to. I am aware of the existence in Rome
of associations dedicated to Rossellini and De Sica, but they have
characteristics not comparable with those of the Fondazione
Fellini; and I also know that there is a Murnau Stiftung in
Germany and an Institut Jean Vigo in France, but they are just
names, like those given to a theatre and a school.
On the contrary, our institution immediately wanted to embody
an identity, let’s say “felliniana”, through its activities. This kind
of identity has been developing since 2001, when the Fondazione
was radically renewed and began to be an Institute of Studies
dedicated to the Maestro. Its heart is the Archive, which feeds
every part of the organism, exactly as a real heart does.
The Institute of Studies, an unavoidable landmark for those
intending to undertake any important research on the Maestro,
will be joined by a Museum. This will be quite small, but, at the
same time, rich in precious and rare pieces, such as the personal
library of Fellini (which numbers about two thousand volumes
relating to all the literary, artistic and scientific disciplines).
Thanks to modern technologies, the Museum will allow its
visitors to ask questions and receive answers about Fellini’s life
and work and to consult the Archive by data-processing means.
Regarding the Archive, I have to make some preliminary remarks
about its relevance to the Fondazione’s statutory aims, with particular
reference to the documentation concerning Fellini’s composite
personality and to the study of his work or, better, of his works: actually,
he was a great director, but also a remarkable writer (of screenplays
and more) and an extremely talented illustrator. In fact, the Fondazione
heritage embraces different kinds of materials, comprising a spectrum
which combines the full range of his creativity with the works of his
collaborators, his critics and his interpreters. Moreover, within Fellini’s
66 Journal of Film Preservation / 67 / 2004