The term Fellini-esque has come to mean weird, unusual, circus-like, and exaggerated, often applied to characters and film style alike (Schneider 88).  This cinematic adjective derives from its creator Federico Fellini and his films.  Though it explains the nature of his work, it does not go far enough to describe his overall cinematic vision—though it is part of it—which includes reflexivity and the blurring of the boundaries between reality and fantasy using a number of techniques.  Fairly autobiographical, his film 8 ½ is a perfect example of his unique vision. (continue reading…)

The late 1920’s ushered in a new era in film history with the introduction of recorded sound, which drastically altered the film industry on a global scale forever.  Although mostly serving as a synchronized music score for the motion picture and not widely used for sound effects and dialogue in 1927, sound became relatively universal by 1930.  The advent of sound frightened some while liberating others as it presented the beginning of the end for silent cinema.  1927 brought audiences The Jazz Singer and Al Jolson’s famed lines “wait a minute! Wait a minute. You ain’t heard nothing yet” (Rogin 81).  Indeed, they had not, not just yet.  However, this new technology offered problems along with promise for filmmakers.  In order to keep them near the hidden microphones on set, directors restricted the movement of their actors (Encarta).  Issues regarding former silent film stars and the suitability of their voices and speech patterns for these new talking pictures also came into play (Smoodin).  To prevent the microphones from recording the hum of their motors, cameramen enclosed the equipment in boxes, which also limited the movement of the camera (Encarta).  Though these are a few technical reasons for not hastily jumping on the sound bandwagon, filmmakers like Charlie Chaplin had very different motivations to continue his support of the genius of silent film during its dying years. (continue reading…)