DOCSLIB.ORG

World of Orson Welles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
World of Orson Welles Spring 2020 Spring 2020 PAID U.S. Postage Permit No. 14 Nonprofit Org. Nonprofit Org. World of IN Middlebury, Orson Welles Film Festival On Sundays this March Enjoy watching the legendary director and actor Orson Welles in his ground breaking films. An introduction by a guest professor precedes the showing of each film. Afterwards there is a short discussion led by the professor. Light refreshments are available. Register on the library homepage’s Event Calendar or call 574-825-5601. ∫ • 101 East Winslow East 101 • This film series is made possible by: -Library Staff -Friends of the Library Return Service Requested Service Return 574-825-5601 • www.mdy.lib.in.us • 574-825-5601 Middlebury, IN 46540 IN Middlebury, P.O. Box 192 192 Box P.O. Public Library Public Middlebury Community Community Middlebury -Board of Trustees: Mary Hesser Jackie Landaw Barbara Lynch Carolyn Manley Megan Miller Middlebury Community Don Shuler Kristopher Schlabach Public L i b r a r y The Lady from Shanghai 1948 1 hr 27 min Directed by Orson Welles Introduction by Lyle Zynda Sunday Professor, Philosophy, Indiana University South Bend March 1 2 p.m. Energetic and inventive, The Lady from Shanghai is known for Orson Welles’ brilliantly conceived set pieces that include camera pyrotechnics, shadow-drenched imagery and the classic “hall of mirrors” sequence. Welles plays an Irish-American sailor, Michael O’Hara who rescues the beautiful blonde Mrs. Bannister (Rita Hayworth) from muggers in Central Park. Fascinated by the gorgeous Mrs. Bannister, seaman O’Hara joins a bizarre cruise aboard her husband’s yacht, and ends up mired in a complex murder plot. Citizen Kane 1941 1 hr 59 min Directed by Orson Welles Sunday Introduction by Pat Furlong Professor Emeritus, History, Indiana University South Bend March 8 2 p.m. Following the death of publishing tycoon Charles Foster Kane, reporters scramble to uncover the meaning of his final utterance, ‘Rosebud’. Orson Welles’s Citizen Kane is an epic tale of a publishing tycoon’s rise and fall. This film classic is entertaining, poignant, and inventive in its storytelling and camera shots, earning its reputation as a landmark achievement in film. The Stranger 1946 1 hr 36 min Directed by Orson Welles Introduction by Jonathan Nashel Sunday Professor, History Department, Indiana University South Bend March 15 2 p.m. The Stranger is often considered Orson Welles’ most “traditional” Hollywood-style directorial effort. Welles plays kindly college professor Charles Rankin, who lives in a pastoral Connecticut town with his lovely wife Mary (Loretta Young). One afternoon, an extremely nervous German gentleman named Meineke arrives in town but quickly disappears. Not long afterwards posing as an antiques dealer, a mild-mannered war crimes commissioner Mr. Wilson (Edward G. Robinson) pays a visit to the tranquil rural town. Touch of Evil 1958 1 hr 35 min Directed by Orson Welles Introduction by Elaine Roth Sunday Professor, English, Film Studies, Indiana University South Bend March 22 2 p.m. Artistically innovative and emotionally gripping, Orson Welles’ classic noir is a visual treat, as well as a dark thriller. Touch of Evil dissects the nature of good and evil in a hallucinatory, nightmarish ambience, helped by the shadow-laden cinematography and an outstanding cast. Trouble starts when Mexican-born policeman Mike Vargas (Charlton Heston) is honeymooning with his new bride, Susan (Janet Leigh), and agrees to investigate a bomb explosion. In so doing, he incurs the wrath of local police chief Hank Quinlan (Welles), a corrupt, bullying behemoth. For more information about these films and to register at Event Calendar, visit our homepage @ www.mdy.lib.in.us.
Load more

Recommended publications
  • The Lady from Shanghai
    A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TTHHEE LLAADDYY FFRROOMM SSHHAANNGGHHAAII Directed by Orson Welles Produced by Orson Welles Distributed by Columbia Pictures Released in 1948 ured by the attractive wife (Rita Hayworth) of a crooked crippled lawyer (Everett Sloane) to L serve on board their yacht after he had saved her from an assault, Michael O'Hara finds himself caught in a high-stakes game of fools. And he is the key player. Fighting his desires every step of the way, Michael (Orson Welles) is maneuvered into accepting a position for the long journey to San Francisco. By all evidence their initial meeting was by chance, Michael loping along, Elsa sitting pretty in her horse-drawn carriage. The assault by the three dopey mugs could have been staged to further draw Michael in. But this is pure speculation (and would take some very quick thinking on her part). Soon we learn that Michael is a sailor, a veteran of the anti-Franco Communist forces, and he killed a man in Spain, back in '39. Her past is more obscure, but we can ascertain that Elsa was a high-class prostitute in China, where she was born to White Russian parents. They get along well, she coy, he feeling heroic, but then she lets on that she is married. This freezes Michael. He doesn't want trouble, and though he admits in voice-over that he is terrible at smelling danger, he can see it.
    [Show full text]
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • Orson Welles's Deconstruction of Traditional Historiographies In
    “How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127).
    [Show full text]
  • CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN
    CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness. DISSOLVE: (A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:) The literally incredible domain of CHARLES FOSTER KANE. Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good-sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain.
    [Show full text]
  • Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
    October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
    [Show full text]
  • Roger Ebert's
    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
    [Show full text]
  • FILMS and THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2
    FILMS AND THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2. TGTBATU: CE The Good, the Bad and the Ugly: Clint Eastwood 3. RFTS: KM Reach for the Sky: Kenneth More 4. FG; TH Forest Gump: Tom Hanks 5. TGE: SM/CB The Great Escape: Steve McQueen and Charles Bronson ( OK. I got it wrong!) 6. TS: PN/RR The Sting: Paul Newman and Robert Redford 7. GWTW: VL Gone with the Wind: Vivien Leigh 8. MOTOE: PU Murder on the Orient Express; Peter Ustinov (but it wasn’t it was Albert Finney! DOTN would be correct) 9. D: TH/HS/KB Dunkirk: Tom Hardy, Harry Styles, Kenneth Branagh 10. HN: GC High Noon: Gary Cooper 11. TS: JN The Shining: Jack Nicholson 12. G: BK Gandhi: Ben Kingsley 13. A: NK/HJ Australia: Nicole Kidman, Hugh Jackman 14. OGP: HF On Golden Pond: Henry Fonda 15. TDD: LM/CB/TS The Dirty Dozen: Lee Marvin, Charles Bronson, Telly Savalas 16. A: MC Alfie: Michael Caine 17. TDH: RDN The Deer Hunter: Robert De Niro 18. GWCTD: ST/SP Guess who’s coming to Dinner: Spencer Tracy, Sidney Poitier 19. TKS: CF The King’s Speech: Colin Firth 20. LOA: POT/OS Lawrence of Arabia: Peter O’Toole, Omar Shariff 21. C: ET/RB Cleopatra: Elizabeth Taylor, Richard Burton 22. MC: JV/DH Midnight Cowboy: Jon Voight, Dustin Hoffman 23. P: AP/JL Psycho: Anthony Perkins, Janet Leigh 24. TG: JW True Grit: John Wayne 25. TEHL: DS The Eagle has landed: Donald Sutherland. 26. SLIH: MM Some like it Hot: Marilyn Monroe 27.
    [Show full text]
  • American Defense Films to Be Presented by M0ma
    42204 - 12 THE MUSEUM OF MODERN ART t wEST 53RD STREET, NEW YORK TELEPHONE: CIRCLE 5-8900 F0R IMMEDIATE RELEASE AMERICAN DEFENSE FILMS TO BE PRESENTED BY MUSEUM OF MODERN ART FILM LIBRARY A cross section of recent American documentary films on the defense theme will be presented In Program 106: AMERICAN DEFENSE FILMS at the Museum of Modern Art beginning Sunday, February 8, This is the last program in the Film Library's Cycle of 300 Films and will con­ tinue through February 14, after which the entire Cycle will be re­ peated starting February 15. In one of the defense films to be shown, Safeguarding Military Information, several leading Hollywood players appear anonymously. If the spectator watches closely he will see Ginger Rogers as the girl whose boy friend in the Army carelessly gives her information which results in the torpedoing of a transport. Walter Huston also appears as one of the nameless actors in the same film. Some of the films to be shown have been produced by govern­ ment agencies and others have been made by commercial producers. It will be noted that a considerable variety of styles and techniques have been used for imparting information to the general public or for instructing the armed forces. The films to be presented at 2 and 4 P.M. Sunday, February 8, and thereafter at 4 P.M. each day through February 14, are: 1941 BOMBER, produced by the Office for Emergency Management Film Unit, commentary written by Carl Sandburg. The story of the building of a bomber—a story of American planning, skill, ingenuity, workmanship and production.
    [Show full text]
  • ATINER's Conference Paper Series HUM2014-0814
    ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series HUM2014-0814 Iconic Bodies/Exotic Pinups: The Mystique of Rita Hayworth and Zarah Leander Galina Bakhtiarova Associate Professor Western Connecticut State University USA 1 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN 2241-2891 22/1/2014 2 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. The papers published in the series have not been refereed and are published as they were submitted by the author. The series serves two purposes. First, we want to disseminate the information as fast as possible. Second, by doing so, the authors can receive comments useful to revise their papers before they are considered for publication in one of ATINER's books, following our standard procedures of a blind review. Dr. Gregory T. Papanikos President Athens Institute for Education and Research 3 ATINER CONFERENCE PAPER SERIES No: HUM2014-0814 This paper should be cited as follows: Bakhtiarova, G.
    [Show full text]
  • Power and Paranoia
    Power and Paranoia: The Literature and Culture of the American Forties Course instructor: PD Dr. Stefan Brandt Ruhr-Universität Bochum Winter term 2009/10 Bibliography (selection) “A Life Round Table on the Pursuit of Happiness” (1948) Life 12 July: 95-113. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood” (1945) Life 3 Sept.: 53. Asimov, Isaac. “Robbie.” [Originally published as “Strange Playfellow” in 1940]. In: I, Robot. New York: Gnome Press, 1950. 17-40. ---. “Runaround.” [1942]. In: I, Robot, 41-62. Auden, W.H. The Age of Anxiety: A Baroque Eclogue. New York: Random House, 1947. Auster, Albert, and Leonard Quart. American Film and Society Since 1945. London and Basingstoke: Macmillan, 1984. Balio, Tino. The American Film Industry. Madison: University of Wisconsin Press, 1976. Barson, Michael, and Steven Heller. Red Scared: The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001. Behlmer, Rudy, ed. Inside Warner Brothers 1935-1951. New York: Viking, 1985. Belfrage, Cedric. The American Inquisition: 1945-1960. Indianapolis and New York: Bobbs-Merrill, 1973. Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960. An Exhibition and Catalogue. New Brunswick, N.J.: Rutgers Univ. Art Gallery, State Univ. of New Jersey, 1981. Birdwell, Michael E. Celluloid Soldiers: The Warner Bros. Campaign Against Nazism. New York: New York University Press, 1999. Boddy, William. “Building the World’s Largest Advertising Medium: CBS and Tele- vision, 1940-60.” In: Balio, ed., Hollywood in the Age of Television, 1990.
    [Show full text]
  • Desire, Narcissism and Crisis in Citizen Kane Saiyeed
    Desire, Narcissism and Crisis in Citizen Kane Saiyeed Shahjada Al Kareem [Abstract: This is a critical review of the cinema Citizen Kane (1941) directed by Orson Welles. The review seeks to understand the inner psychic drivers which lead human throughout the life, through the case of Charles Foster Kane and argues that the most primitive desire developed Kane's character in a narcissistic way which led him to fall in different types of crises. The review employs psychoanalysis as an approach to establish the argument.] Key Words: desire, narcissism, crisis, ego, psyche, citizen kane “Love, that's why he did everything.” _ Leyland “But he never believed in anything except Charlie Kane.” _ Leyland “He was a man who got everything he wanted and then lost it.” _ Thompson A desire, a strong feeling to have something, which can lead one throughout the life, albeit he or she may not be satisfied meeting with the desired object because may be one himself or herself does not really know consciously what the ultimate desired object is. In some cases, this strong feeling may convert into narcissism which is somewhat self-centeredness, a lack of empathy, a need for admiration and this can lead one to different types of crises. Citizen Kane (1941) of Orson Welles is still a matter of debate to the film scholars with its confusing messages about the life and views of the great newspaper lord portrayed in the cinema. From Previous Literatures: There are two leading interpretations of the film Citizen Kane (1941) where one is enigma interpretation and another is Rosebud interpretation which Carroll1 thinks incongruous.
    [Show full text]