If the 1960’s owe one of the greatest films of all time to Federico Fellini’s genius, Anita Ekberg’s physique, Marcello Mastroianni’s charisma, and Rome’s splendor, we can mostly give thanks to Otello Martelli’s eye, the cinematographer of La Dolce Vita—an awaken dream where shadows and lights collide. The cinematographer, responsible for the camera, lights, and even the mise en scène, is an architect of lighting in both technical and aesthetic aspects. Having worked with Robert Altman, Steven Spielberg, and Brian de Palma, Vilmos Zsigmond recently explained: “At first, there’s light, then the frame, then the actors, then the story…” (Cahiers du cinéma, no. 702, Summer 2014). A philosophy that the designers included in this landmark exhibition have maintained at the core of their work on the object, function and setting. In 1960, when la Dolce Vita was released, these designers had mastered the techniques to achieve their creative expression, illustrated by the production of some of the most important lights within the history of design...

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Pictures from this exhibition

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