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Zusatztext There are books that consolidate scholarly subjects and then there are those that basically design new research fields by combining scholars’ insights and findings. O’Rawe has given order to the study of the non-professional actor by enlightening its historical dimensions (from the colonial cinema of Fascist Italy and neorealism to the global present), performative patterns and theoretical affordances in a marvelously researched, remarkably argued and beautifully illustrated intervention. Her work will be the key reference for scholars in Italian and world cinema for years to come. Informationen zum Autor Catherine O’Rawe is Professor of Italian Film and Culture at Bristol University, UK. She is the author of Stars and Masculinities in Contemporary Italian Cinema (2014), co-author of Italian Cinema Audiences: Histories and Memories of Cinema-going in Post-war Italy (Bloomsbury, 2020), and has published widely on stardom, performance, and audiences. Klappentext Provides the first critical overview of acting, stardom, and performance in post-war Italian film (1945-54), with special attention to the figure of the non-professional actor, who looms large in neorealist filmmaking. Italian post-war cinema has been widely celebrated by critics and scholars: films such as Bicycle Thieves (De Sica, 1948) and Paisan (Rossellini, 1946) remain globally influential, particularly for their use of non-professional actors. This period of regeneration of Italian cinema initiated the boom in cinemagoing that made cinema an important vector of national and gender identity for audiences.The book addresses the casting, performance, and labour of non-professional actors, particularly children, their cultural and economic value to cinema, and how their use brought ideas of the ordinary into the discourse of stars as extraordinary. Relatedly, O'Rawe discusses critical and press discourses around acting, performance, and stardom, often focused on the 'crisis' of acting connected to the rise of non-professionals and the girls (like Sophia Loren) who found sudden cinematic fame via beauty contests. Vorwort An examination of the actor, and the non-actor, in post-war Italian cinema—a crucial moment for the Italian film industry—when cinema became an important vector of national identity and of individual identification with figures on the big screen. Zusammenfassung Provides the first critical overview of acting, stardom, and performance in post-war Italian film (1945-54), with special attention to the figure of the non-professional actor, who looms large in neorealist filmmaking. Italian post-war cinema has been widely celebrated by critics and scholars: films such as Bicycle Thieves (De Sica, 1948) and Paisan (Rossellini, 1946) remain globally influential, particularly for their use of non-professional actors. This period of regeneration of Italian cinema initiated the boom in cinemagoing that made cinema an important vector of national and gender identity for audiences.The book addresses the casting, performance, and labour of non-professional actors, particularly children, their cultural and economic value to cinema, and how their use brought ideas of the ordinary into the discourse of stars as extraordinary. Relatedly, O'Rawe discusses critical and press discourses around acting, performance, and stardom, often focused on the ‘crisis’ of acting connected to the rise of non-professionals and the girls (like Sophia Loren) who found sudden cinematic fame via beauty contests. Inhaltsverzeichnis List of Illustrations Acknowledgements Introduction: The Non-Professional Actor: Histories, Theories, Performances1. Acting, Stardom and the Non-Professional in Italy from Fascism to the Post-War2. Bodies, Voices, Afterlives: Case Studies of Bicycle Thieves ’ Lamberto Maggiorani, and the Cast ...
