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Literatur zu einzelnen Filmen von O.Welles

  • Hubert Cohen: "The Heart of Darkness in Citizen Kane." In: Cinema Journal 12:1 (1972), pp.11-25
  • James Damico: "News Marches in Place: Kane´s Newsreel as a Cutting Critique." In: Cinema Journal 16:2 (1977), pp.51-58
  • Leonard J.Leff: "Reading Kane." In: Film Quarterly 39:1 (1985), pp.10-20
  • Frank P.Tomasulo: "Narrate and Describe. Point of View and Narrative Voice in Citizen Kane´s Thatcher Sequence." In: Wide Angle 8:3-4 (1986), pp.45-52
  • Robin Bates: "Fiery Speech in a World of Shadows. Rosebud´s Impact on Early Audiences." In: Cinema Journal 26:2 (1987), pp.3-26
  • Marie-Claire Ropars-Wuilleumier: "Narration and Signification: A Filmic Example." In: Quarterly Review of Film and Video 11:4 (1990), pp.7-20 [zu Citizen Kane]
  • Knut Hickethier: "Filmkunst und Filmklassik: Citizen Kane (1941)." In: W.Faulstich / H.Korte (Hg.): Fischer Filmgeschichte, Bd.2, Frankfurt/M: Fischer, 1991, pp.293-309
  • Laura Mulvey: Citizen Kane. London 1992
  • Rick Altman: "Deep-Focus Sound: Citizen Kane and the Radio Aesthetic." In: Quarterly Review of Film and Video 15:3 (1994), pp.1-33
  • David Bordwell: "Citizen Kane und die Künstlichkeit des klassischen Studio-Systems." In: A.Rost (Hg.): Der schöne Schein der Künstlichkeit, Frankfurt/M 1995, pp.117-149 - (Texte von D.Bordwell)
  • Lorenz Engell: "Citizen Kane." In: Bilder des Wandels, Weimar 2003, pp.110-131
  • Marilyn Fabe: "Expressive Realism: Orson Welles's Citizen Kane." In: M.F.: Closely Watched Films: An Introduction to the Art of Narrative Film Technique, Berkeley 2004
  • James Naremore (Ed.): Orson Welles's Citizen Kane. A Casebook. New York 2004
  • John Evangelist Walsh: Walking Shadows. Orson Welles, William Randolph Hearst, and Citizen Kane. Madison 2004
  • Lesley Brill: "Crowds, Isolation, and Transformation in Welles´s Citizen Kane." In: L.B.: Crowds, Power, and Transformation in Cinema. Detroit: Wayne State UP, 2006, pp.99-117

  • Kathryn Kalinak: "The Text of Music: A Study of The Magnificent Ambersons." In: Cinema Journal 27:4 (1988), pp.45-63
  • Robert L.Carringer: The Magnificent Ambersons: A Reconstruction. Berkeley 1993
  • V.F.Perkins: The Magnificent Ambersons. London 1999

  • Richard B.Jewell: "Orson Welles, George Schaefer and It´s All True: A `Cursed´ Production." In: Film History 2:4 (1988), pp.325-335
  • Catherine L.Benamou: It's All True. Orson Welles's Pan-American Odyssey. Berkeley: U.of California Pr., 2007

  • Eric M.Krueger: "Touch of Evil: Style Expressing Content." In: Cinema Journal 12:1 (1972), pp.57-63
  • Stephen Heath: "Film and System. Terms of Analysis: Touch of Evil." In: Screen 16:1-2 (1975)
  • John Stubbs: "The Evolution of Orson Welles´s Touch of Evil from Novel to Film." In: Cinema Journal 24:2 (1985), pp.19-39
  • William Bywater: "The Visual Pleasure of Patriarchal Cinema: Welles´ Touch of Evil." In: Film Criticism 14:3 (1990), pp.27-38
  • Jonathan Rosenbaum: "Orson Welles' Memorandum: Touch of Evil." In: Film Quarterly 46:1 (1992), pp.2-11
  • Jack M.Beckham II: "Border Policy/Border Cinema: Placing Touch of Evil, The Border, and Traffic in the American Imagination." In: Journal of Popular Film & TV 33:3 (2005), pp.130-141
  • Brooke Rollins: "»Some Kind of a Man«: Orson Welles as Touch of Evil´s Masculine Auteur." In: The Velvet Light Trap No.57 (2006), pp.32-41
  • Robin Wood: "Welles, Shakespeare and Webster: Touch of Evil." In: R.W.: Personal Views: Explorations in Film. Detroit: Wayne State UP, 2006new ed.

  • Michael Anderegg: "»Every Third Word a Lie:« Rhetoric and History in Orson Welles´s Chimes at Midnight." In: Film Quarterly 40:3 (1987), pp.18-23

  • William Johnson: "F for Fake." In: Film Quarterly 29:4 (1976), pp.42-47
siehe auch:

Literatur über O.Welles

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