Miguel Gaggiotti
Biographic Data
| ID | 5935822 |
|---|---|
| NAME | Miguel Gaggiotti |
| GIVEN NAMES | Miguel |
| FAMILY NAME | Gaggiotti |
| SIGNATURE | GAGGIOTTI M |
| AFFILIATIONS | University of Bristol |
| ORCID | 0000-0001-7836-2835 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Forum on Non-Professional Actors in Independent Cinema
in this forum, we ask what so-called non-professional actors bring to the table as creative participants in the filmmaking process. Each author takes a slightly different approach to a variety of films that, together, sketch the historically and geographically expansive scope of this performance trope. Catherine O'Rawe discusses the role of non-professionals in film festival culture, where they are often put on display but rarely listened to, wit…
The Process (2023)
This is an accepted article with a DOI pre-assigned that is not yet published.This article examines the process of collaborating with non-professional actors in the creation of a fictional audio-visual work (a documentary short film) representing forms of embodied vulnerability. It explores how non-professional actors and filmmakers can creatively and ethically utilise actors’ lived experience in the process of creating characters who themselves …
The corruption of non-professional performance
Olmi, and many others, largely inherited the tradition of working with non-professional actors from Italian neorealism, where the practice had consolidated as a staple of global art cinema with the international success of films such as Paisa `/Paisan (Roberto Rossellini, 1946) and Ladri di biciclette/Bicycle Thieves (Vittorio De Sica, 1948). Most of the major iconic post-war Italian directors eventually abandoned or greatly reduced their use of …
No prominent works on this page.
The corruption of non-professional performance
Olmi, and many others, largely inherited the tradition of working with non-professional actors from Italian neorealism, where the practice had consolidated as a staple of global art cinema with the international success of films such as Paisa `/Paisan (Roberto Rossellini, 1946) and Ladri di biciclette/Bicycle Thieves (Vittorio De Sica, 1948). Most of the major iconic post-war Italian directors eventually abandoned or greatly reduced their use of …
The Process (2023)
This is an accepted article with a DOI pre-assigned that is not yet published.This article examines the process of collaborating with non-professional actors in the creation of a fictional audio-visual work (a documentary short film) representing forms of embodied vulnerability. It explores how non-professional actors and filmmakers can creatively and ethically utilise actors’ lived experience in the process of creating characters who themselves …
Forum on Non-Professional Actors in Independent Cinema
in this forum, we ask what so-called non-professional actors bring to the table as creative participants in the filmmaking process. Each author takes a slightly different approach to a variety of films that, together, sketch the historically and geographically expansive scope of this performance trope. Catherine O'Rawe discusses the role of non-professionals in film festival culture, where they are often put on display but rarely listened to, wit…
Art (1 work) · Arts and Performance Studies (1 work) · Business (1 work) · Cinema and Media Studies (1 work) · Drama (1 work) · Fable (1 work) · Filmmaking (1 work) · Intellectual Property Law (1 work) · Italian Fascism and Post-war Society (1 work) · Italian Literature and Culture (1 work)