Dubbing Delon: Voice, Body and National Stardom in Rocco e i suoi fratelli/Rocco and his Brothers

Research output: Chapter in Book/Report/Conference proceedingChapter in a book

Abstract

The major French/Italian co-productions starring Alain Delon (Rocco e i suoi fratelli/Rocco and his Brothers, (Visconti, 1960), L’eclisse/The Eclipse (Antonioni, 1962) and Il gattopardo/The Leopard (Visconti, 1963)) have been little studied from the viewpoint of Delon’s star image and performance style. One of the reasons for this is the neglect of star studies within the discipline of Italian film studies: additionally, work on star studies in the Italian context has emphasised the need to view stars as ‘cultural symbol and conduit for ideas about gender, values and national identity’ (Gundle 2008) and so has been unable to account for the influence of non-Italian stars working in Italian cinema. This chapter will examine Delon’s performance style in the three films, probing the established definitions of his ‘impassive acting style’ (Hayes 2004), and ‘expressionless face’ (Austin 2003). It will raise the question of whether Delon’s critical status as ‘homme fatal’ who is ‘too beautiful’ (Vincendeau 2000) has obscured the range and variety of his performance idiom in these French/Italian films, and how the fact of dubbing his voice into Italian works to support or undermine his position as erotic object of the camera’s gaze
Original languageEnglish
Title of host publicationAlain Delon
Subtitle of host publicationStyle, Stardom, and Masculinity
EditorsNick Rees-Roberts, Darren Waldren
Place of PublicationNew York and London
PublisherBloomsbury
Pages59
Number of pages74
Publication statusPublished - 10 Jul 2015

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