Journal of Film Preservation - FIAF

El autor describe los tesoros
conservados por la Fundación Federico
Fellini en Rimini y los fines de esta
asociación cultural sin ánimo de lucro.
La Fundación consiste en un centro de
estudios ligado a un museo, que
alberga la biblioteca personal de
Fellini. Los archivos, abiertos a los
investigadores, contienen
documentos relacionados con todos
los aspectos de la vida y la obra de
Federico Fellini, así como los trabajos
de algunos de sus colaboradores,
incluyendo bocetos, guiones, diseños
de decorados y vestuario, decorados,
música, fotografías, carteles, informes
de producción, etc. La colección
cuenta con dos de sus películas
restauradas, Il bidone y Amarcord,
además de una importante colección
de tomas dobles y metraje no
utilizado, conservada bajo el nombre
de Fellini nel cestino. Las restantes
películas de Fellini están
representadas por copias en vídeo o
incluso en formato digital. También se
conservan videos de entrevistas con
Fellini y programas de televisión
dedicados a su obra, algunos los
cuales la fundación puede distribuir
para fines educativos. El archivo
fotográfico incluye también fotos
personales y familiares, y sus para la
publicación Marc Aurelio, con la que
Fellini colaboró antes de empezar su
carrera cinematográfica. El archivo se
completa con libros, publicaciones
periódicas, tesis doctorales y estudios
sobre el Maestro, así como una
colección de CDs con las bandas
sonoras de todas sus películas. La
colección de Nino Rota, el compositor
que colaboró más estrechamente con
Fellini, también abarca sus partituras,
cuadernos y notas. Las actividades de
la fundación están dirigidas a la
difusión del conocimiento de la obra
de Fellini a través de retrospectivas,
exposiciones, coloquios y seminarios.
complete collection or all the issues of a year – are also kept by the
Fondazione. All of them are under scrutiny, with a view to making them
available to experts and researchers. The second volume of Fellini’s
bibliography lists every publication in worldwide reviews and it is the
starting point to update our collections.
A word about the most private section of the Archive, composed of
around one hundred and sixty letters, notes, cards and telegrams
written by or to the Maestro. Clearly, it is possible to consult these
documents only in really special cases and with all the possible
precautions, because they are not meant to be read by other than their
addressees. However, the Fondazione plans to find a way to isolate and
make available those abstracts that concern just Fellini’s public role,
with a total respect for his privacy.
The Fondazione also owns a stack of newspaper cuttings, the largest
part of which comprises the collection realized over thirty years by
Dario Zanelli, one of the most important of Fellini’s biographers. He
donated to the Fondazione over one thousand cuttings of reviews,
critical articles, short essays and interviews. In order to achieve a
definitive catalogue of these, the Fondazione awaits the publication of
the third volume of the bibliography, which will include reviews of
Fellini’s movies from Italian and foreign newspapers. This will help us
fundamentally to catalogue more scientifically the clippings we
already have, and will indicate what cuttings we still need to acquire.
Finally, there are the movie soundtracks. The Archive holds the original
soundtracks of all Fellini’s movies on eight CDs, among them the one
edited by CAM under the title Tutto Fellini. The focal point of the
relationship between the images and the musical themes is Fellini’s cooperation
with Nino Rota. One of Fellini’s drawings depicts Rota
composing at the piano in inspirational mode. This drawing is a
testimony to the long collaboration between the two artists, begun at
the time of Lo sceicco bianco and continuing to Prova d’orchestra (1951-
1979). This relationship became during that period a kind of habit,
almost a necessity. Moreover, Fellini customarily suggested changes,
corrections, and even chose which tune was the best for a scene.
All of Nino Rota’s soundtracks are held on twenty-seven LPs in the
Archive, all of them first editions. However, the real treasure of this
section of the Archive consists of the original scores, workbooks and
notes by Nino Rota. These, together with many copies of similar
documents, are of unique value.
What we call the “Nino Rota Fund” concludes my brief analysis of the
most significant heritage owned by our Archive. However, I am glad to
mention also the last acquisition made by the Fondazione Fellini, only
possible thanks to the Municipality of Rimini, namely the series of forty
original costumes used for Roma (those of the ecclesiastical fashion
show are of particular interest) and Il Casanova, together with some
pieces of furniture and objects (among them the famous clockwork
bird of Il Casanova) that appear in the same movies. Their future
location is not yet decided (their natural destination seems to be the
Fondazione’s Museum), but there is no doubt about the fact that they
have to be preserved and catalogued by the Fondazione. I’d like to
71 Journal of Film Preservation / 67 / 2004