ABSTRACT
Federico Fellini articulated his unique relationship with place in affective rather than representational or mimetic fashion, building his imagery and soundscapes on impressionistic memories rather than historical record. In this chapter, I explore the manifestations of Fellinian affects (nostalgia, melancholia, and saudade, respectively) in the FIAT 500 La Prima marketing campaign, Cinecittà, and a selection of sceneframes by cinematic pilgrims. I highlight how the maestro’s presence is felt in these objects and places, but remains intangible, ultimately arguing that Fellini’s endurance transcends the confines of his films and is sustained by a complex articulation of cinematic memories, public discourse, and media.
