![]() As a relentless and opportunistic photographer, Paparazzo’s character serves as a representation of the pervasive intrusion of the media into the private lives of public figures, always seen buzzing around, camera in hand, waiting to get the scoop.īut where exactly the name comes from is still uncertain. In the film, Paparazzo embodies t he pursuit of celebrity and sensation that defines the glamorous, yet morally ambiguous world of post-war Rome. The term paparazzo was born with La Dolce Vita, and was the name of a character played by Walter Santesso. “Enterprising and unscrupulous photographer, who goes to hunt well-known personalities to shoot them by surprise, especially in particular moments of their private life, typically for tabloids.” –Treccani Italian art, literature, and fashion took from his distinctive style, and memorable characters even inspired words that are now used worldwide.įrom the silver screen to our everyday conversations, these are three terms that you may not have known came from Fellini’s oeuvre: PAPARAZZO ![]() He, in turn, elevated Italy’s status on the global cultural stage, and, as such, his influence extended far beyond cinema–so much so that an adjective was created to describe his style, Felliniesque. The mass enthusiasm for the spicy film helped Fellini become the inarguable golden star of Italian cinema. Some people even come from the surrounding neighborhoods to attend the show, and to see Anita Ekberg sinuously move in the Fontana di Trevi. They bring their chairs with them, as the cinema does not have enough to accommodate everyone. Faithful and not, young and old, people flock to see the masterpiece. Even the parish priest of the village warns his congregants not to go to the theater, so as not to support this morally corrupt work: his sermon achieves a very limited effect. In Germi’s movie, a reporter announces the arrival of a sensational new film, already preceded by scandals, controversies, and protests. There is a scene in Pietro Germi’s Divorzio All’Italiana (1961) which well documents the Italian ferment (just a year earlier) for the release of La Dolce Vita (1960) by Federico Fellini. Thanks to the cost of cinema tickets being much more negligible than today, it was one of few truly democratic social activities that most anyone could participate in. The next day’s water cooler chatter, newspaper headlines, and dinnertime gossip would revolve around new releases and their lingo, and to not be up to date was a special form of social faux-pas. The release of a new Totò film, the most recent Fellini, or Sergio Leone’s latest western were unmissable events. It does not store any personal data.In mid-century Italy, going to the cinema was the thing to do. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. ![]() ![]() Necessary cookies are absolutely essential for the website to function properly.
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