DOCSLIB.ORG

Orson Welles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Orson Welles ORSON WELLES AN 80TH ANNIVERSARY COMMEMORATION ORSON WELLES FRIDAY EVENING, MAY 16, 2014 Stage Left Café Orson Welles, a 20th century cultural 7:00 pm to 10:00 pm giant of international renown, viewed Woodstock as his hometown. Welles Todd Tarbox Opens the Welles Festival attended Todd School for Boys in 7:00 pm to 7:45 pm Woodstock and had as his mentor The author of Orson Welles and Roger Hill: A Friendship in Three Acts, Tarbox attended the Todd School for Todd teacher and headmaster Roger Boys until it closed in 1954. He is the grandson of Roger Hill, Hill, an extraordinary educator who Welles’s teacher and mentor. understood how to nourish creativity and foster love of learning. Asked as Members of the Welles Experts Panel Respond a middle-aged man to name the most 7:45 pm to 8:45 pm important influence on his creativity, Welles replied, “Roger Hill. I think Jonathan Rosenbaum, Joseph McBride, about him every day.” Michael Dawson, Jeff Wilson, Josh Karp, Robert K. Elder This 16-17 May 2014 event commemorates the 80th anniversary of the Petra Van Nuis and Andy Brown Play Todd Theatre Festival at the Woodstock Opera House orchestrated by the Twenties and Thirties Music 19-year-old Welles and paid for by Hill. With the production of Trilby in 9:00 pm to 10:00 pm which Welles played Svengali, Welles made his debut as an American Petra van Nuis is a Chicago-based jazz vocalist. Germany’s theatre director. Also in Woodstock in 1934, Welles directed his first Jazzpodium Magazine hails Petra’s collaboration with her husband, guitarist Andy Brown, as “a magical musical dialogue.” film, The Hearts of Age, and he published with Roger Hill the 3-volume Everybody’s Shakespeare. Our speakers, internationally known experts on Welles, will address the early life and career of Orson Welles in Wisconsin, Illinois, Ireland, Spain, and New York City in the Twenties and Thirties. Musicians will offer period music on Friday night, and, on Saturday night, a radio theatre group will perform selections from Welles’s radio dramas. - 2 - SATURDAY MORNING, MAY 17, 2014 SATURDAY AFTERNOON, MAY 17, 2014 Woodstock Opera House Woodstock Opera House 9:30 pm to 12 Noon 2:30 pm to 5:00 pm This session focuses on Todd School (1926-31), Welles’s 1931 debut as This session follows Welles before and after his 1934 debut in a professional actor at the Gate Theatre in Dublin, the 1934 Todd Theatre Woodstock as a director of live theatre. In 1931, Welles visited Spain, festival, The Hearts of Age, Everybody’s Shakespeare, and the later a trip of great personal significance. After 1934, he achieved success in appearance by the Gate Theatre actor-managers in Welles’s Othello. New York City as a director of radio dramas and stage shows. Welles would soon cap his fame as an actor and director by joining RKO in Moderator / Introducer Robert K. Elder Hollywood and creating the filmCitizen Kane (1941) at age 25. Chicago Review Press has published film critic Robert K. Elder’s The Best Film You’ve Never Seen and The Film that Changed My Life. Moderator / Introducer Robert K. Elder Welles films are at the core of both books. Chicago Review Press has published film critic Robert K. Elder’s The Best Film You’ve Never Seen and The Film that Changed My Life. Jonathan Rosenbaum Welles films are at the core of both books. Jonathan Rosenbaum, former film critic forChicago Reader, has written many books on film, includingDiscovering Orson Welles, as well as Jeff Wilson edited This is Orson Welles. Writer and editor Jeff Wilson founded Wellesnet.com in 2001, and he has studied Welles’s radio work extensively since then. Wilson Joseph McBride presented a seminar on Welles’s radio career at the Locarno Film Film writer for Daily Variety for many years, Joseph McBride is the Festival’s Welles series in Switzerland in 2006. author of many books on film, includingOrson Welles, Orson Welles: Actor and Director, and What Ever Happened to Orson Welles? McBride Josh Karp played a film critic in Welles’s The Other Side of the Wind. Josh Karp, a Chicago-based author, is writing The Last Movie: The Unmaking of Orson Welles’s “The Other Side of the Wind” Michael Dawson (published in 2014 by St. Martin’s Press). Karp tracks the making of President of Intermission Productions, Michael Dawson has produced this partially autobiographical film that some consider to be Welles’s and directed hundreds of promotional documentaries, commercials, final artistic statement and a bookend toCitizen Kane. Karp will show music videos, and industrials. In 1991, the company found and restored a new short documentary about Welles in Spain, El Americano, and tie Orson Welles’s Othello. Dawson’s current Welles projects include together the themes of our Welles presentations. restoring Chimes at Midnight and producing Citizen Welles from 15 hours of filmed material. - 4 - - 5 - SATURDAY EVENING, 17 MAY 2014 The Woodstock Opera House is owned and proudly maintained Woodstock Opera House by the City of Woodstock as a 8:00 pm to 10:00 pm service to the public. RG Productions will perform a number of Welles’s radio theatre scripts Mayor Event Sponsor on the Woodstock Opera House Orson Welles Stage. Vignettes from Dr. Brian Sager Woodstock Celebrates, Inc., is a Welles’s versions of Dracula, The Shadow, and Sherlock Holmes precede City Council Members 501(c)(3) organization recognized a full re-creation of the radio broadcast that unexpectedly made Welles Julie Dillon by the IRS, incorporated in Illinois as internationally notorious in 1938; his radio production of H.G. Wells’s Maureen Larson a nonprofit, and registered with the Mark Saladin Illinois Attorney General as a charity. * science fiction fantasy, The War of the Worlds . Joseph Starzynski Donations are tax deductible. RB Thompson An award-winning group based in Kenosha, Wisconsin - Welles’s Michael Turner Send Donations to: Woodstock Celebrates, Inc. birthplace in 1915, RG Productions performs on stages and at historical City Manager Post Office Box 342 and modern venues throughout Southeast Wisconsin and Northern Roscoe Stelford III Woodstock, Illinois 60098 Illinois. Its mission is to present old-time radio classics Opera House Staff Contact Us Via Email: to a contemporary audience. [email protected] Managing Director * War of the Worlds author, Howard E. Koch. Produced by special arrangement with Playscripts, Inc. www.playscripts.com John H. Scharres Woodstock Celebrates, Inc. Board of Directors Production Assistant Gunnar Gitlin, President ASSOCIATED EVENTS Scott Creighton John Daab, Vice President Peter Gill, Secretary Woodstock Classic Cinema Woodstock Historic Peter F. Carroll, Treasurer Orson Welles Film Festival Preservation Commission Building Manager Kathleen Spaltro, Event Manager May 16 - 18 Walking Tour Mark Greenleaf 815.338.8555 May 17, 1:00 - 2:00 815.338.4305 Box Office Manager Steve Aavang Daniel Campbell Beth Davis Woodstock Public Library Michael Dawson Todd School Exhibit Read Between the Lynes Gregory Gantner May 15 - June 1 Book Signings Box Office Assistant Joanne Gitlin Reception: May 15 May 17, 1:00 - 2:00 Gerri Granzetto Caryl Lemanski 815.338.0542 815.206.5967 Office Manager Rodney Paglialong Lorraine Steinkamp Susan Stelford Woodstock Bars & Restaurants Old Court House Arts Center RB Thompson Pub Crawl / Period Drinks Photo and Multimedia April 4 - May 18 Tribute to Orson Welles House Managers 815.893.6280 Month of May Tish Lyons and Nancy Canty www.welleswoodstock.com 815.338.4525 - 6 - - 7 - Admission Stage Left Café A $15.00 donation is suggested. The Opera House Adult Single Event: $15.00 Adult full day passes: $40.00 Student Single Event: $10.00 Student full day passes: $25.00 Tickets and passes are available at The Opera House box office, which charges a small additional fee. Stage Left Café 125 West Van Buren Street Woodstock, IL 60098 815.337.1395 Woodstock Opera House 121 Van Buren Street Woodstock IL 60098 815.338.5300 Post Office Box 342 Brochure and Woodstock Celebrates Trademark designed by: Celebrates Trademark and Woodstock Brochure onezerocharlie.com / Michael Stanard James Westwood Woodstock, Illinois 60098.
Load more

Recommended publications
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • JEAN-LUC GODARD: SON+IMAGE Fact Sheet
    The Museum of Modern Art For Immediate Release August 1992 FACT SHEET EXHIBITION JEAN-LUC GODARD: SON+IMAGE DATES October 30 - November 30, 1992 ORGANIZATION Laurence Kardish, curator, Department of Film, with the collaboration of Mary Lea Bandy, director, Department of Film, and Barbara London, assistant curator, video, Department of Film, The Museum of Modern Art; and Colin Myles MacCabe, professor of English, University of Pittsburgh, and head of research and information, British Film Institute. CONTENT Jean-Luc Godard, one of modern cinema's most influential artists, is equally important in the development of video. JEAN-LUC GODARD: SON+IMAGE traces the relationship between Godard's films and videos since 1974, from the films Ici et ailleurs (1974) and Numero Deux (1975) to episodes from his video series Histoire(s) du Cinema (1989) and the film Nouvelle Vague (1990). Godard's work is as visually and verbally dense with meaning during this period as it was in his revolutionary films of the 1960s. Using deconstruction and reassemblage in works such as Puissance de la Parole (video, 1988) and Allemagne annee 90 neuf zero (film, 1991), Godard invests the sound/moving image with a fresh aesthetic that is at once mysterious and resonant. Film highlights of the series include Sauve qui peut (la vie) (1979), First Name: Carmen (1983), Hail Mary (1985), Soigne ta droite (1987), and King Lear (1987), among others. Also in the exhibition are Scenario du film Passion (1982), the video essay about the making of the film Passion (1982), which is also included, and the videos he created in collaboration with Anne-Marie Mieville, Soft and Hard (1986) and the series made for television, Six fois deux/Sur et sous la communication (1976).
    [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]
  • Complete Section 1
    Jessica Hopper on girl groups p 25 The most popular gassy Jewish lesbian on the Web CHICAGO’S FREE WEEKLY | THIS ISSUE IN FOUR SECTIONS p 10 FRIDTheAY, JAN 6, 2006 | VOLUME 34, NUMBER 15 Best Movies andJonathan RosenbaMusicum, p 1 J.R. Jones, p 17 ofA 15 -music2005-critic pileup, p 19 McSweeney’s reprints a lost Chicago writer, a Roscoe Village businessman says he’s being PLUS harassed for speaking up, the music scene rallies around a veteran soundman, and more. Section One Letters 3 Reviews Music 25 Columns One Kiss Can Lead to Another: Girl Group Hot Type 4 Sounds Lost and Found, Evie Sands’s Any On the Trib on the war Way That You Want Me The Straight Dope 5 Books 27 Literally scared to death? Triksta: Life and Death and New Orleans Rap by Nik Cohn, The Riddle of the The Works 8 Traveling Skull by Harry Stephen Keeler A row in Roscoe Village Plus Our Town 10 What Are You Wearing? 15 A podcaster to watch; how the City Council Aay Preston-Myint spends its money; have Virgin, will travel January 6, 2006 Ink Well 31 This week’s crossword: Subscription Descriptions ON THE COVER: JIM NEWBERRY (MADGE), COURTESY BERTHA MCNEAL (THE VELVELETTES) The Best Film of the Past Two Years And 24 more picks from what the industry thought us yokels could handle in 2005 By Jonathan Rosenbaum o choose the best movies of 2005 is to compromise. I T limit my list of candidates to films that have screened in Chicago, but I could easily fill it with movies that haven’t screened in the U.S.
    [Show full text]
  • Jim Jarmusch Regis Dialogue with Jonathan Rosenbaum, 1994
    Jim Jarmusch Regis Dialogue with Jonathan Rosenbaum, 1994 Bruce Jenkins: To say that tonight is actually the culmination of about four and a half years worth of conversations, letters, faxes, and the timing has finally been propitious to bring our very special guest. Why we were so interested in Jim is that his work came at, I think, a very important time in the recent history of American narrative filmmaking. I would be one among many who would credit his films with reinvigorating American narrative films, with having really the same impact on filmmaking in this country that John Cassavetes had in a way in the late '50s and early '60s. In coming up with a new cinema that was grounded in the urban experience, in concrete details of the liberality that was much closer to our lives than the films that came out of the commercial studio system. Bruce Jenkins: You'll hear more about Jim Jarmusch from our visiting critic who was here last about three years ago, in connection with the retrospective of William Klein's work. If you have our monograph on Jim Jarmusch, we'll have his writing. It's Jonathan Rosenbaum, who has been our partner in a number of projects here, but most especially our advisor in preparing both the retrospective and dialogue for this evening and the parallel program that plays out on Tuesday evenings, the guilty pleasures and missing influences program, and gives you a little bit of a sense of the context of the work that lead to a really unique sensibility in contemporary filmmaking.
    [Show full text]
  • An Educational Guide Filled with Youthful Bravado, Welles Is a Genius Who Is in Love with and Welles Began His Short-Lived Reign Over the World of Film
    Welcome to StageDirect Continued from cover Woollcott and Thornton Wilder. He later became associated with StageDirect is dedicated to capturing top-quality live performance It’s now 1942 and the 27 year old Orson Welles is in Rio de Janeiro John Houseman, and together, they took New York theater by (primarily contemporary theater) on digital video. We know that there is on behalf of the State Department, making a goodwill film for the storm with their work for the Federal Theatre Project. In 1937 their tremendous work going on every day in small theaters all over the world. war effort. Still struggling to satisfy RKO with a final edit, Welles is production of The Cradle Will Rock led to controversy and they were This is entertainment that challenges, provokes, takes risks, explodes forced to entrust Ambersons to his editor, Robert Wise, and oversee fired. Soon after Houseman and Welles founded the Mercury Theater. conventions - because the actors, writers, and stage companies are not its completion from afar. The company soon made the leap from stage to radio. slaves to the Hollywood/Broadway formula machine. These productions It’s a hot, loud night in Rio as Orson Welles (actor: Marcus In 1938, the Mercury Theater’s War of the Worlds made appear for a few weeks, usually with little marketing, then they disappear. Wolland) settles in to relate to us his ‘memoir,’ summarizing the broadcast history when thousands of listeners mistakenly believed Unless you’re a real fanatic, you’ll miss even the top performances in your early years of his career in theater and radio.
    [Show full text]
  • Du Citizen Orson Au King Welles Kevin Tierney
    Document généré le 24 sept. 2021 23:57 Ciné-Bulles Le cinéma d’auteur avant tout Flashback Du Citizen Orson au King Welles Kevin Tierney Volume 5, numéro 3, février–avril 1986 URI : https://id.erudit.org/iderudit/34453ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer cet article Tierney, K. (1986). Flashback : du Citizen Orson au King Welles. Ciné-Bulles, 5(3), 34–38. Tous droits réservés © Association des cinémas parallèles du Québec, 1986 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Flashback Kevin Tierney Du Citizen Orson • « Presciue avec les magnats d'Hollywood ainsi qu'avec au King Welles SSTa^u^ certains de leurs lointains cousins avec les­ du monde traitent de l'échec et renferment quels il devra négocier plus tard, lui fut sans une mort, mais elles contiennent davantage doute nécessaire. Welles devait jouer le rôle de paradis perdus que de défaites. » C'est que lui avait assigné le destin, rôle teinté d'un en ces termes qu'Orson Welles a décrit un obscur désespoir.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Alexandra IRIMIA Matters of Time in László Krasznahorkai's and Béla
    Matters of Time in László Krasznahorkai’s and Béla Tarr’s Satantango 213 Alexandra IRIMIA Matters of Time in László Krasznahorkai’s and Béla Tarr’s Satantango Abstract: This paper attempts to draw an intermedial comparison of László Krasznahorkai’s 1985 novel Satantango and Béla Tarr’s 1994 eponymous adaptation through the perspective of their treatment of time and narration, by reflecting upon the specificities of their respective media. The two works advance the hypothesis of a circular experience of temporality defying the linear flow of literary and cinematic discourse. Aesthetically, their approach is characterized by a strong emphasis on seemingly meaningless and bleak contingency, in an atmosphere of claustrophobic closure shaped by the dance metaphor already transparent from the title, which is also central to the structure of both the novel and its cinematic adaptation. In exploring the various cinematographic and typographic mechanisms through which the tango sequence of steps configures the imagery and the sensorial landscape of the two works, our analysis refers to a multi-modal, comparative usage of key concepts such as narrated time, narrative time and Gilles Deleuze’s time-image. Keywords: time-image, intermediality, adaptation, Satantango, Laszlo Krasznahorkai, Gilles Deleuze. “He felt that what the rain was doing to his face was exactly what time would do. It would wash it away.” (Krasznahorkai, 13) Alexandra IRIMIA, PhD student Western University, London, ON, Canada It rains a lot in Satantango, both on page and University of Bucharest, Romania on screen. Not much else happens. Somehow, [email protected] though, both prose and cinematic narrative manage to keep the reader and the spectator EKPHRASIS, 2/2018 arrested – on condition that they are willing to CINEMA, COGNITION AND ART dance.
    [Show full text]
  • Course Number and Section
    University of Calgary Department of Communication, Media and Film Film Studies FILM 403.19 L01 Topic in the Director’s Cinema (Orson Welles) Winter 2015 Lecture: Thursdays 15:00 – 16:50 Lab: Tuesdays 14:00 – 16:45 Instructor: Dr. Murray Leeder Office: SS 220 Office Phone: 220-3381 E-Mail: [email protected] Office Hours: Monday 13:00 – 14:00, Thursday 13:00 – 15:00 Course Description This course examines the career of Orson Welles and, more broadly, theories of cinematic authorship. Subjects for discussion may include: Welles as an intermedial artist (film, theatre, radio, etc.); the development of Welles’s cinematic style; Welles’s reputation and influence; Welles as a public figure; Welles as an adaptor of Kafka and Shakespeare; Welles’s unrealized projects. It covers from Welles’s first feature, Citizen Kane (1941), to his last, F for Fake (1973). Additional Information Attendance at lectures, screenings and tutorials, and informed participation are essential components of this course and will help determine your final grade. Students must come to class prepared to discuss the required reading. Objectives of the Course Students will learn theories of authorship as they apply to cinema and to the career of Orson Welles in particular. Textbooks and Readings The following textbooks are available at the University of Calgary bookstore: Orson Welles, Shakespeare, and Popular Culture (Michael Anderegg) Citizen Kane (Laura Mulvey) Discovering Orson Welles (Jonathan Rosenbaum) This Is Orson Welles (Orson Welles & Peter Bogdanovich) Other readings will be made available via Desire2Learn. WHAT YOU MUST DO EVERY WEEK TO DO WELL IN THE COURSE: Read the weekly material assigned.
    [Show full text]
  • Orson Welles - Prawda Jest Gdzie Indziej
    Olga Katafiasz Orson Welles - prawda jest gdzie indziej Orson Welles jest reżyserem kultowym1 - nawet jeśli z nieufnością trak­ tujemy to nadużywane ostatnio określenie, w przypadku tego artysty raczej nie budzi ono wątpliwości. I nie chodzi jedynie o fakt, że powstało kilkaset poświęconych mu książek i obrazów dokumentalnych, filmowe miejsca są nazywane jego imieniem, produkcje niezmiennie utrzymują się w czołów­ kach rankingów, a zasługi w kształtowaniu języka kina są ogromne i do­ cenione. Nie chodzi też o świadomie budowaną przez Wellesa opowieść o własnym niezwykłym życiu, na które składały się perturbacje z producen­ tami, ekscentryczne pomysły, wreszcie związki z kobietami. Orson Welles jest typem artysty, który w sposób szczególny uwzględniał w swoim myśleniu o sztuce (nie tylko o filmie, ale też o literaturze, którą czę­ sto przenosił na ekran) i jej tradycji postawy czy tęsknoty widza, zarówno tego bardziej wyrobionego, dostrzegającego nowatorskie odkrycia formalne i gry gatunkowe, jak przeciętnego, ale wrażliwego odbiorcy. Niezwykła re­ lacja z publicznością zaistniała zatem z kilku powodów. Po pierwsze, Orson Welles zawsze mówił we własnym imieniu (choć warianty tej strategii bywają rozmaite) i owa manifestacja własnej obecno­ 1 Pojęcia ,7kultowy" używam nie w kontekście zjawiska „kina kultu", ale w znaczeniu szer­ szym. „Kultowy" oznacza więc trudny do zdefiniowania fenomen dzieła lub twórcy, cieszą­ cych się szczególną popularnością w pewnych, niekiedy bardzo szerokich kręgach odbior­ czych. Filmy, książki czy reżyserzy określani mianem „kultowych" obrastają swego rodzaju legendą, podtrzymywaną przez grupę ludzi, dla których mają szczególne znaczenie. Stają się zatem kulturowym mitem, poznawanym przez kolejne pokolenia czytelników czy widzów. 372 Olga Katafiasz ści w dziele okazuje się niezwykle ważna.
    [Show full text]