The Evolution of Performance Theory and Practice in Postwar Italian Cinema
From Barbaro to de Santis
Bibliographic Data
| ID | 9817832 |
|---|---|
| Authors | Antonio C Vitti (Wake Forest University), Antonio Vitti (Wake Forest University, corresponding author) |
| Year | 2008 |
| Volume | 42 |
| Issue | 2 |
| Pages | 353-372 |
| Publication date | 2008-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Forum Italicum A Journal of Italian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0014-5858 • E-ISSN: 2168-989X |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/001458580804200207 |
| OpenAlex | W2730716645 |
| Language | EN |
| References cited | 1 |
The essay defines the neorealist position in general and that of director Giuseppe De Santis in particular with regard to the use of actors. It examines the theories related to acting that most influenced postwar filmmakers. It also considers De Santis's campaign to renew Italian cinema during his collaboration with Cinema and how this practice was elaborated during the neorealist period, to ascertain whether a contradiction between theory and practice truly existed. It also considers the origins and growth of the phenomenon of diva worship, commonly associated with voluptuous bombshells, in the fifties
Aesthetics · Art · Art history · Contradiction · Diva · Epistemology · Humanities · Literature · Movie theater · Period (music · Phenomenon · Cinema and Media Studies · History · Italian Fascism and Post-war Society · Philosophy · Theatre and Performance Studies
| Highly cited | No |
|---|