Director Spotlight:

Aspects of Orson Welles

By C.E. McAuley

15 October 2013

The Magnificently Mutilated Ambersons

Though Citizen Kane has cemented his place in film history, The Magnificent Ambersons -- especially had its original ending been kept -- would prove Orson Welles one of Hollywood’s greatest masters of tragedy, if not the greatest.

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Orson Welles’ ‘The Trial’ Is a Study in Transcendental Sociology

It is to Orson Welles’ eternal credit that he is one of the few filmmakers — perhaps the only one — who actually got Kafka right.

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Orson Welles and ‘40s Film Noir

As Welles had created shadowy noir images in the war years, by the end of the war, he captured the cultural climate of the emerging postwar era in his underrated 1946 noir, The Stranger.

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‘Citizen Kane’ Is a Labyrinth Without a Centre

The labyrinth structure of the film calls for the audience to be shown a solution, the potential 'centre' of the film.

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Orson Welles’ Subversive Genius: ‘The Third Man’, Film Noir and the Cold War

Could it be that Orson Welles was directing the films he was acting in even when he wasn't officially "directing" them?

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//Mixed media
//Blogs

A Crooked and Unseen Highway: lowercase - "She Takes Me"

// Sound Affects

"The newest Between the Grooves series tackles Lowercase's Kill the Lights, a great marriage of slowcore and post-punk: raw, angry, sullen, and very much alive almost 20 years later.

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