Orson Welles: A Critical View

Rasmussen contains close visual analysis of individual films that will be useful for students new to Welles. Orson Welles, Shakespeare, and Popular Culture. Columbia University Press, Avoids critical conventional wisdom and places Welles within the changing historical context of the popular reception of Shakespeare. Translated by Jonathan Rosenbaum.

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According to Rosenbaum , the book he translated here was not the original and superior, he contends text by Bazin, but one written years later. Still an important study by a perceptive critic. Originally published in The Magic World of Orson Welles. Southern Methodist University Press, A comprehensive study of Welles and his films, from an auteurist standpoint.

Six Films Analyzed, Scene by Scene. Has to contend with the problems posed by the different versions of several of these films. University of California Press, Rosenbaum uses this structure as a process of discovering Welles as a postmodern artist, whose later work deserves as much serious consideration as Citizen Kane itself.

Orson Welles at Work. Examines major films from beginning to end of production and after. Includes discussions of theatrical and other works. Users without a subscription are not able to see the full content on this page. Please subscribe or login.

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Sign up for My OBO. A more telling example of this problem can be seen in the historical treatment of Isaac Woodard Jr. Columbia University Press, , Catherine L. Hello Americans New York: Edgar Hoover on the acknowledgments page. By tracing the representations and misrepresentations of the Woodard incident through some of the standard texts on Welles, I think a few points about Welles research in general can be made.

Hours later, on his way home, he got into an altercation with a white bus driver in South Carolina about the time allotted for a rest stop. At the next stop, the driver summoned two police officers, one of whom proceeded to beat Woodard so brutally with a blackjack that he was blinded in both his eyes. The officer responsible for the blinding, Lynwood Schull, was eventually uncovered and brought to trial, but an all-white jury acquitted him, a decision greeted in the courtroom with cheers.

As nearly as I can determine, the above is more or less what happened. Orson Welles, The Radio Years, — , both of which also misspell the name. How, then, did I already know that Shull was acquitted before reading Callow? From Welles himself, in another unpublished text — bolstered by the logical conclusion, which I should have reached while reading Leaming and Higham, that any jury in South Carolina in would surely have been all white, and that the odds of an all-white jury convicting a white police officer of such a crime in that period would have been slim.

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This was finally published in Furthermore, the fact that Welles kept much of his work beyond the usual commercial margins has often led to the neglect of this work. But many viewers are still too mired in conventional patterns of consumption to consider such possibilities thinkable, much less viable. Overfed and overexposed, Welles died a wash-up. This suggests that a refutation of such myths becomes possible only when a minimal amount of curiosity about their factual basis can be said to exist.

A Life at the Movies , Placing Movies: Cinema Journal 26, no. Viking Penguin, , —; Orson Welles: Da Capo, , , , On the Necessity of Film Canons Baltimore: Johns Hopkins University Press, Review by Pamela Renner of stage production, War of the Worlds , posted on October 6, , and accessed at www.

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