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"Welles, Orson, 1915-1985"
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At the end of the street in the shadow : Orson Welles and the city
The films of Orson Welles inhabit the spaces of cities--from America's industrializing midlandto its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character. This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities--the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars.
BOOK
At the end of the street in the shadow
The films of Orson Welles inhabit the spaces of cities-from America's industrializing midland to its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character.
This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities-the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes.
The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars. Viewing Welles as a radical filmmaker whose innovative methods were only occasionally compatible with the commercial film industry, this volume examines the filmmaker's original vision for butchered films, such asThe Magnificent Ambersons(1942) andMr. Arkadin(1955), and considers many projects the filmmaker never completed-an immense \"shadow oeuvre\" ranging from unfinished and unreleased films to unrealized treatments and screenplays.
eBook
Discovering Orson Welles
Of the dozens of books written about Orson Welles, most focus on the central enigma of Welles's career: why did someone so extravagantly talented neglect to finish so many projects? Film critic Jonathan Rosenbaum has long believed that to dwell on this aspect of the Welles canon is to overlook the wealth of information available by studying the unrealized works.Discovering Orson Wellescollects Rosenbaum's writings to date on Welles-some thirty-five years of them-and makes an irrefutable case for the seriousness of his work, illuminating both Welles the artist and Welles the man. The book is also a chronicle of Rosenbaum's highly personal writer's journey and his efforts to arrive at the truth. The essays, interviews, and reviews are arranged chronologically and are accompanied by commentary that updates the scholarship. Highlights include Rosenbaum's 1972 interview with Welles about his first Hollywood project,Heart of Darkness;Rosenbaum's rebuttal to Pauline Kael's famous essay \"Raising Kane\"; detailed essays and comprehensive discussions of Welles's major unfinished work, including two unrealized projects,The Big Brass RingandThe Cradle Will Rock;and an account of Rosenbaum's work as consultant on the 1998 re-editing ofTouch of Evil,based on a studio memo by Welles.
eBook
Orson Welles and the unfinished RKO projects : a postmodern perspective
Postmodern traces Welles's impact on contemporary media narratives, focusing on four emerging narrative modes found in the unfinished RKO films: deconstruction of the first-person singular, adaptation of classic texts for mass media, exploration of the self via primitivism, and examination of the line between reality and fiction. Ultimately, these four narrative styles would enormously impact the development of mass media entertainment, and they still resonate today in popular modes like the “mock”umentary and reality television
eBook
أورسون ويلز وقصص حياته
الكتاب سيرة ذاتية يحكي تفاصيل حياة واحد من أساطير هوليوود أورسون ويلز. كان ويلز مفسرا جريئا ولامعا للأدب أو خالقا له من جديد، وهو قد اختبر بالآراء أفكاره النقدية عن شكسبير وسرفانتس أو ملغيا ومارك توين أو كونراد وكافاك ودينيس، إن القصص التي أعاد ويلز روايتها أو طبقها على نفسه، قد عالجت كلها مشكلات عصية على الحل، تناقضات لم يكن ممكنا حسمها بالخاتمة المعدة وفق صيغة معينة، كان له شغف بالملوك المخلوعين والنهايات كان يقول : (النهايات السعيدة التي تسعى إليها لأنك مفرط العاطفة تتوقف على قطع القصة قبل أن تنتهي، إن الكوميديا تنتهي بالزواج والتراجيديا تنتهي بالموت، هذان الخياران هما أمامك).
BOOK
Introduction: Adaptations of Richard Wright's Works
[...]he received a Guggenheim Fellowship endorsed by Eleanor Roosevelt as a result of this work. According to Cowley, unlike Steinbeck who \"pitied\" his characters, \"Richard Wright, a Negro, was moved by wrongs he had suffered in his own person, and what he had to fear was a blind anger that might destroy the pity in him, making him hate any character whose skin was whiter that his own. According to one source, a white mob actually formed to drive Wright out of town, but Green's intervention kept them at bay.6 Green was responsible for some noteworthy changes to the stage adaptation. According to Wright, Green wanted Bigger to be \"an inverted Christ\" figure and an \"overreaching symbol that heals\" ultimately bringing Black and white people together.8 Houseman intervened, and with Wright, rewrote the script replacing the \"dream sequences with Negro spirituals\" and large chunks of the \"metaphysical dialogue between Bigger and his lawyer\" in the last scene.9 The consequence of Houseman's intervention was the production of two fairly different texts: a printed and a stage version. According to Hazel Rowley, in the stage version, the curtain descends with Bigger awaiting his death, \"grasping the prison bars and looking straight at the audience, while the lights faded out.
Journal Article