Non-Professional Actor

<p><b>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. </b> <p/>Italian post-war cinema has been widely celebrated by critics and scholars: films such as <i>Bicycle Thieves</i> (De Sica 1948) and <i>Paisan</i> (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. <p/>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.</p>