Artistic Symbiosis: Orson Welles’s Othello (1951) as Cinematic Opera by Fátima Chinita

“…Unlike Franco Zeffirelli’s adaptation of Verdi’s opera Otello, Orson Welles’s adaptation of William Shakespeare’s play conforms to Jacques Aumont’s concept of “operatic film” in that it engenders a coexistence of the verbal and the non-verbal, balancing drama and music with a performative intention. …”
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Heart of Darkness, extraits du scénario d’Orson Welles by Orson Welles

“…In 1939, Orson Welles (1915-1985) wrote a cinematographic adaptation of Joseph Conrad’s Heart of Darkness. …”
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Różyczka i karma dla psów. Dwie dzisiejsze tezy o wkładzie Orsona Wellesa by Jerzy Płażewski

Subjects: “…Orson Welles…”
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Crooked, but Never Common: The Films of Preston Sturges, by Stuart Klawans. Columbia UP, 2023, 366 pp. by Christian Gallichio

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„Eidôlon”. Od wiersza o rzeczy do rzeczy w filmie by Rafał Koschany

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O falso amplificado by Ines Bushatsky

Subjects: “…Orson Welles…”
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"Josef K von 1963...": Orson Welles' ‘Americanized’ Version of The Trial and the changing functions of the Kafkaesque in Postwar West Germany by Anne-Marie Scholz

“…This article investigates the reception of the American auteur and actor Orson Welles' adaptation of Franz Kafka's The Trial in West Germany in 1963. …”
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The Man without a Country: British Imperial Nostalgia in Ferry to Hong Kong (1959) by Kenny K.K. Ng

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Autoría y derechos en fotoperiodismo by JUAN DOMINGO MARINELLO

“… "La cámara es mucho más que un aparato registrador; es una vía pordonde nos llegan los mensajes de otro mundo, que no es el nuestroy que nos introduce en el corazón del gran secreto".Orson Welles …”
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Versions multiples et langues en Europe by Martin Barnier

“…Up until the end of the 1960s these films still existed and were made by filmmakers like Jacques Deray, Jacques Demy or Orson Welles.…”
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Notorious: Hitchcock’s good neighbor film by Arlindo Castro

“…If they happened to go to Radio City Music Hall, Notorious would reassure them that the U.S. was doing well in preventing obstinate Nazis from making an atomic bomb, though at that moment of the nuclear espionage war, former Manhattan Project insider Klaus Fuchs had actually passed on to a Soviet contact in London classified information about the Manhattan Project and American atomic plans.2 Indeed, in that transitional period between World War II and the Cold War, the major political villains were still Nazis, not Communists, as exemplified by other 1946 films like Orson Welles’ The Stranger, Charles Vidor’s Gilda, and Edward Dmytryk’s Cornered. …”
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