QUEM SABE A TELA SEJA O LUGAR PARA UM CAVALEIRO ANDANTE? CONSIDERAÇÕES SOBRE O FILME DON QUIJOTE DE ORSON WELLES

O presente artigo almeja analisar o contexto singular da adaptação cinematográfica Don Quijote, do diretor norte-americano Orson Welles, que deixou esse trabalho, gravado durante mais de 30 anos, inconcluso. Coube, assim, ao diretor espanhol Jesús Franco a responsabilidade de finalizar o Don Quijote de Orson Welles, montagem realizada para a exposição Sevilha em 1992. Para isso, tomaremos como operadores de leitura a metalinguagem, o anacronismo e as inversões de dicotomias calcificadas na sociedade ocidental, analisando algumas cenas do filme, com o objetivo de investigar como Welles se apropria de algumas características de Miguel de Cervantes para constituir sua adaptação cinematográfica e como Franco propõe finalizar a obra inacabada.

NIILISMO E AS POTÊNCIAS DO FALSO: VIDA, ARTE E VERDADE EM NIETZSCHE E ORSON WELLES

O objetivo deste artigo é analisar as relações entre o niilismo e as potências do falso, a partir dos conceitos de vida, arte e a crítica à vontade de verdade na filosofia de Nietzsche e no cinema de Orson Welles, através do filme A marca da maldade. O niilismo caracterizado como o movimento de deslocamento do centro de gravidade da vida e a invenção de outro mundo, o mundo verdadeiro, empreendida como forma de vingança articula-se com a vontade de verdade. Nietzsche realiza por meio do método genealógico uma crítica ao valor da verdade. O homem verídico é, assim, a manifestação de uma vontade de nada que nega e deprecia a vida. A arte valoriza a aparência e faz emergir as potências do falso reestabelecendo a vida como vontade de aparência.

The War of the Worlds May Well Start in Latin America

This article analyses the literature-cinema dialogue established by the Ecuadorian writer Gabriela Alemán in her short story collection La muerte silba un blues (2014). Firstly, I revise how Alemán borrows the production methods of the cult Spanish filmmaker Jesús “Jess” Franco to craft a collection that aids us to see the world as an interconnected whole. Secondly, I close read the story that opens the collection, El extraño viaje, which takes Orson Welles’ radiophonic adaptation of The War of the Worlds to the Ecuadorian context. My argument is that, in making the city of Quito the target of H.G. Wells’ Martian invasion, Alemán engages with a rich history of multimedia adaptations and places Ecuador’s capital at the centre of a global narrative. I argue that her work decentres and recentres world literature dynamics where Latin American literature in general, and Ecuadorian writing in particular, sit at the periphery of world literary systems.

Bernard Herrmann

Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and television, had written music for the concert and operatic stage, and had a prodigious conducting career later in his life. The majority of the current research on his oeuvre focuses on his film scoring and his collaborations with film directors such as Alfred Hitchcock, Orson Welles, François Truffaut, Martin Scorsese, and Brian De Palma. He started producing scores for films in 1941, with Welles for the film Citizen Kane, and died just after completing his work for Taxi Driver (dir. Scorsese, 1976). Prior to his experience in cinema, Herrmann wrote music for hundreds of radio dramas starting in the 1930s and continuing until the 1950s, which he credited for his ability to compose so readily for cinema. Herrmann’s most famous collaboration was with Hitchcock, which began with the film The Trouble with Harry (1955) and ended with Marnie (1964). The director-composer duo had a falling out in 1966 over Herrmann’s score to Torn Curtain, which Hitchcock refused to use; the director instead hired John Addison to replace Herrmann. Herrmann went on to compose scores for films by Truffaut, Scorsese, and De Palma in the 1960s and 1970s. While composing for cinema, Herrmann also wrote stock music for television, mainly for CBS, throughout the 1950s and 1960s. Herrmann also conducted concert and film music on several recordings released from 1966 through 1976, including some of his own concert works. In addition to an extraordinary output for film, radio, television, and recording, Herrmann also wrote concert music, some of which he considered most dear. He composed orchestral, ballet, and vocal music throughout his life, starting in his teens and until his death. His opera Wuthering Heights (1951) was especially important to him. In interviews, especially later in life, Herrmann emphasized that he was a composer of music—not one restricted to only film music—and even then, he regarded film music to be equal to that for the concert stage.

Citizen Ken: Branagh, Shakespeare, and the movies

As Kenneth Branagh turns sixty, he finds himself honoured by the English theatrical world as the restored heir to its tradition of the actor-manager, having created a theatre and film career unlike any other. He is an actor-manager-film director who builds on the tradition he inherits from Laurence Olivier, Orson Welles, and Franco Zeffirelli even as he revises it. This overview of his career reveals that he can do small and tidy, but his cinematic imagination first feasts on Hollywood movie genres – noir thrillers, murder mysteries, Disney classics, Superhero fantasies, spy films, musicals, and bio-pics – then feeds his lasting legacy to Shakespeare on film.

Os Dias Secretos de Orson Welles: variação textual e mudança de endereçamento

A construção textual é um movimento dinâmico de prospecções e retrospecções, em que o escritor materializa suas ideias num contínuo de escolhas e intenções variáveis a partir da releitura da própria escrita. Notas pré-redacionais e rascunhos são documentos memoriais do fazer artístico em busca da singularidade da obra por meio de um estilo de gênese, um ritmo individual que dá forma à escritura. Neste trabalho nos valemos de conceitos da Estilística somados aos fundamentos da Crítica Genética para analisar a cena de abertura da peça Eterno, de Doc Comparato, a partir de um conjunto de documentos de processo. Observamos a variação textual, desde as primeiras notas até a publicação, além da metamorfose para o roteiro cinematográfico intitulado Os dias secretos de Orson Welles no Brasil. Selecionamos sete manuscritos (de um total de duzentos), e organizamos o prototextoda cena do ovo selvagem. Identificamos registros da elaboração do estilo da obra, que podem ser visualizados nos atos de rejeitar e selecionar recursos de linguagem, além de práticas no desenvolvimento da escrita que se repetem em outros trabalhos do autor e podem indicar a marca individual de Comparato.

“This Ticking Noise in My Head”

This study tested the role of the audio soundtrack in the opening scene of Orson Welles’s Touch of Evil (Orson Welles and Albert Zugsmith, 1958) in supporting a predictive inference that a time bomb will explode, as the filmmakers intended. We designed two experiments and interpreted their results using the Scene Perception and Event Comprehension Theory (SPECT). Across both experiments, viewers watched the scene, we manipulated their knowledge of the bomb, and they made a predictive inference just before the bomb would explode. Experiment 1 found that the likelihood of predicting the explosion decreased when the soundtrack was absent. Experiment 2 showed that individual differences in working memory accounted for variability in generating the prediction when the soundtrack was absent. We explore the implications for filmmaking in general.

PKDcast#1

Durante os primeiros meses da pandemia COVID-19, confinados em suas residências, os membros do coletivo #ir! (Intervalos & Ritmos) se reuniram semanalmente para “demandas prazer”. Após as primeiras publicações do Projeto MaskVide (@maskvide #datamask), iniciamos experimentações sonoras a fim de criarmos um projeto para podcast. O fio-condutor - ilhados com cerca de 40Mb na velocidade de conexão - foi a literatura de ficção científica, em particular as obras de Phillip K. Dick. Tendo por referência a seminal transmissão radiofônica de “A Guerra dos Mundos” (1897), por Orson Welles (1938), passamos às leituras dramáticas de “A Máquina Preservadora” (PKD, 1953) - conto de PKD que dividimos em 08 episódios. Palavras-chave: Memória; Música; Remix; Sci-Fi; Rádio Caseiro.