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Authenticity in the Films of Federico Fellini

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Existentialist Cinema
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Abstract

Sartre and Beauvoir refuted the criticism of existentialism as a bleak, pessimistic world view. While I agree with them, one might well think there is something to that criticism given the emphasis on meaninglessness which pervades the previous three chapters. But the force of existentialist philosophy lies in showing us where we can go wrong as a means of getting it all right. In order to make a meaningful life, one that we actively engage from our own concrete perspective, it is necessary to understand the pitfalls in contemporary culture. The seductions and diversions of the modern world and its emphasis on money, privilege and status, the temptation to exploit the contingencies of morality and rationalize your behavior after the fact, the difficulty of finding spiritual depth in a world in which traditional religious perspectives have been compromised — these conditions constitute the terrain in which we must find our way. The authentic person does not deny these conditions and finds meaning despite them (and perhaps, in part, because of them). The remainder of this book will emphasize the existentialists’ attempts to find a solution to the challenges we’ve been describing in previous chapters.

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Notes

  1. There are a host of works that could be cited as examples, but MacIntyre’s After Virtue is a good representative of them. MacIntyre argues that the exis-tentialists have taken to its ultimate conclusion the Enlightenment’s over-emphasis on the individual, and he recommends instead a return to an Aristotelian understanding of the community as a source of values and ethical norms. See Alasdair MacIntyre, After Virtue (Notre Dame, IN: University of Notre Dame Press, 1984), pp. 204–225. Of course, many critics of exis-tentialism argue for its relevance despite its flaws. Thomas Flynn does this for Sartre, for example.

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  2. See Thomas Flynn, Sartre and Marxist Existentialism (Chicago: The University of Chicago Press, 1984).

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  3. See Richard Schacht’s introduction in Human All Too Human: Friedrich Nietzsche, Human All Too Human, trans. R. J. Hollingdale (Cambridge: Cambridge University Press, 1986), pp. vii–xxv.

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  4. Friedrich Nietzsche, The Will to Power, trans. Walter Kaufmann and R. J. Hollingdale (New York: Vintage Books, 1968), p. 297.

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  5. This distinction between Truth with a small T and a capital T I borrow from Richard Rorty. See Richard Rorty, The Consequences of Pragmatism (Minneapolis: University of Minnesota Press, 1991), pp. xiii–xxi.

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  6. The power of creative interpretation and observation is brilliantly captured in Annie Dillard’s Pilgrim at Tinker Creek (New York: Harper Perennial Modern Classics, 2007), p. 14.

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© 2009 William C. Pamerleau

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Pamerleau, W.C. (2009). Authenticity in the Films of Federico Fellini. In: Existentialist Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/9780230235465_8

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