In place of footnotes or a formal bibliography, I am providing an account of my chief sources for each chapter, plus additional bibliographic listings for the later editions of the book. Certain items have been used often enough to warrant a separate listing. These are:
Bazin, André. Orson Welles. Preface by Jean Cocteau. Paris: Editions Chavane, 1950.
Bessy, Maurice. Orson Welles. Cinéma d’Aujourd’hui, series no. 6. Paris: Editions Seghers, 1970.
Cowie, Peter. A Ribbon of Dreams: The Cinema of Orson Welles. New York: A. S. Barnes, 1973.
Gottesman, Ronald, ed. Focus on “Citizen Kane.” Englewood Cliffs, NJ: Prentice-Hall, 1971.
———. Focus on Orson Welles. Englewood Cliffs, NJ: Prentice-Hall, 1976.
Higham, Charles. The Films of Orson Welles. Berkeley: University of California Press, 1970.
Kael, Pauline. The Citizen Kane Book. Boston: Little, Brown, 1971.
McBride, Joseph. Orson Welles. New York: Viking Press, 1972. Rev. and exp. ed. New York: Da Capo Press, 1996.
I have also made extensive use of the New York Times, Newsweek, Time, Variety, the Hollywood Reporter, and Motion Picture Herald.
Biographical information is drawn chiefly from Russell Maloney, “Orson Welles,” New Yorker (Oct. 5, 1938); Alva Johnson and Fred Smith, “How to Raise a Child,” Saturday Evening Post (Jan. 20–27, Feb. 3, 1940); Roy Alexander Fowler, Orson Welles: A First Biography (London: Pendulum Publications, 1946); Peter Noble, The Fabulous Orson Welles (London: Hutchinson, 1956); John Houseman, Run-Through: A Memoir (New York: Simon and Schuster, 1972); Micheál MacLiammóir, All for Hecuba (London: Methuen, 1950). Quotations from Bright Lucifer are courtesy of the Center for Theater Research, Wisconsin State Historical Society, Madison, Wisconsin. Useful background information on theater and radio in the thirties is contained in Gerald Rabkin’s Drama and Commitment (Bloomington: Indiana University Press, 1964), and in Radio Drama in Action, edited by Erik Barnouw (New York: Farrar and Rinehart, 1945). See also Hadley Cantril’s Invasion from Mars (New York: Harper and Row, 1966). A brief history of RKO may be found in “RKO Radio: An Overview” by Tim Onosko in Velvet Light Trap, no. 10 (Fall 1973). See also John Davis’s “Studio Chronology” in the same issue. Jonathan Rosenbaum’s discussion of Heart of Darkness, together with excerpts from Welles’s script, appeared in Film Comment (Nov.-Dec. 1972). Information on Smiler with a Knife and The Way to Santiago was obtained courtesy of Richard Wilson and the Wisconsin State Historical Society.
My arguments on deep-focus photography and motion picture soundtracks were influenced by Noel Burch’s Theory of Film Practice (New York: Praeger, 1973). Burch is also important to my understanding of “self-reflexive” cinema. Gregg Toland’s essay on his photography for Citizen Kane appeared first in American Cinematographer but is conveniently reprinted in Gottesman’s Focus on “Citizen Kane.” See also André Bazin’s “The Evolution of Film Language” in What Is Cinema, vol. 1 (Berkeley: University of California Press, 1967); and Brian Henderson’s “The Long Take” in Film Comment (Summer 1971). A useful reference on optical printing and other techniques of motion picture photography is Practical Motion Picture Photography, edited by Russell Campbell (Cranbury, NJ: A. S. Barnes, 1970). For an “orthodox” view of how lenses should be used in the classic Hollywood movie, see Jay Donohue, “Focal Length and Creative Perspective,” American Cinematographer (July 1966). David Bordwell’s essay “Citizen Kane” appeared first in Film Comment (Summer 1971), and is reprinted in Gottesman’s Focus on Orson Welles. Hiram Sherman is quoted from Richard France’s “The Shoemaker’s Holiday at the Mercury Theatre,” in Theatre Survey (Nov. 1975). George Coulouris’s remarks appear in an interview with Ted Gilling in Sight and Sound (Summer 1973). François Truffaut’s comments on Welles’s acting are taken from the official program of the AFI “Life Achievement Award” ceremony honoring Welles.
See David Bordwell’s essay on Kane, mentioned in my notes to chapter 2. See also Robert L. Carringer’s “Rosebud, Dead or Alive,” PMLA (March 1976), “Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative,” Critical Inquiry (Winter 1975), and “The Scripts of Citizen Kane,” Critical Inquiry 5 (1978). For a useful discussion of self-reflexive narrative in Kane, I recommend Kenneth Hope’s unpublished thesis, “Film and Meta-Narrative” (Bloomington, Indiana University, 1975). The various biographies of W. R. Hearst include Mrs. Freemont Older, William Randolph Hearst, American (New York: Appleton-Century, 1936); Ferdinand Lundberg, Imperial Hearst (New York: Modern Library, 1937); and W. A. Swanberg, Citizen Hearst (New York: Scribner, 1961). For comments on the politics of Kane, see Charles Eckert, “Anatomy of a Proletarian Film,” Film Quarterly (Spring 1975): 65–76. See also Harry Wasserman, “Ideological Gunfight at the RKO Corral,” Velvet Light Trap, no. 11 (1974): 7–11.
I am grateful to Richard Wilson, who allowed me to glance at the Mercury files on the production of Ambersons, including the last pages of the cutting continuity. I also consulted two scripts of the film at the Museum of Modern Art and the RKO press book at the Lilly Library in Bloomington, Indiana. For a discussion of the theme of pastoral in English literature, see Raymond Williams, The Country and the City (New York: Oxford University Press, 1973). See also Michael Wood, “Parade’s End,” American Film (March 1976). Bernard Herrmann’s remarks on the original conclusion of the film are quoted from an interview at England’s National Film Theatre, published in the Miklos Roja Society Newsletter (Summer 1974). For information about “The Two Black Crows,” I am indebted to the Archive of Contemporary Music at Indiana University.
John Houseman’s comments, here as elsewhere, are quoted from Run-Through: A Memoir. Welles’s newspaper column is quoted from the New York Post, where it appeared on weekdays between January 22 and June 15, 1945. See also “The Big Show-Off,” by Jerome Beatty, American (Feb. 1947). I obtained background information on Around the World, The Lady from Shanghai, and Macbeth from interviews with Richard Wilson.
Albert Zugsmith’s recollections of Touch of Evil appear in an interview with Todd McCarthy and Charles Flynn in Kings of the Bs (New York: Dutton, 1975). Henry Mancini is interviewed in the AFI Dialogue on Film (Jan. 1974). Dennis Weaver is quoted from the AFI “Life Achievement Award” program. See also Stephen Heath, “Film and System,” Screen (Spring/Summer 1976).
Welles’s interviews with André Bazin appeared in Cahiers du Cinema in June and September 1958. See also Micheál MacLiammóir, Put Money in Thy Purse (London: Methuen, 1952). Jack Jorgens’s essay on Othello is found in Gottesman’s Focus on Orson Welles. Welles’s essay in The Fortnightly is titled “Thoughts on Germany” and was published in March 1951. The novel Mr. Arkadin appeared originally in French with Welles’s name as author and was published by Gallimard, Paris, in 1954. An unauthorized translation was issued by W. H. Allen, London, 1956.
On Kafka, see Georg Lukács, Realism in Our Time (New York: Harper and Row, 1964); see also Ernst Fischer, The Necessity of Art (London: Penguin Books, 1963), and Walter Benjamin, Illuminations (New York: Harcourt Brace, 1968). A script of The Trial, together with Welles’s interview on the film with Cahiers du Cinéma, has been published by the Modern Film Script series (New York: Simon and Schuster, 1970).
For commentary on the Henry plays, see William Empson’s “Double Plots” in Some Versions of Pastoral (New York: New Directions, 1950). See also C. L. Barber, Shakespeare’s Festive Comedy (Princeton, NJ: Princeton University Press, 1959). Welles’s comments on the film appeared in Cahiers du Cinema in English (Winter 1965). Pauline Kael’s essay is collected in Kiss Kiss, Bang Bang (Boston: Little, Brown, 1968).
Welles is quoted from a brief interview reported by David Ansen in The Real Paper, Boston, January 22, 1977. See also the special issue on Welles published by Positif, no. 167 (March 1975). Background on the production of F for Fake appears in Écran (Feb. 1975). Raymond Williams is quoted from Culture and Society (New York: Harper and Row, 1958). Joseph McBride’s report “The Other Side of Orson Welles” is in American Film (July-Aug. 1976).
Unless otherwise indicated, the quotations in this chapter are taken from documents in the Welles archive of the Lilly Library in Bloomington, Indiana. Edward W. Said is quoted from The World, the Text, and the Critic (Cambridge, MA: Harvard University Press, 1983), 31–53. Robert Lewis’s comments on Welles were made at a New York University symposium in May 1988. Roland Barthes’s essay “From Work to Text” was translated by Josue V. Harari and appeared in Textual Strategies, edited by Harari (Ithaca, NY: Cornell University Press, 1979), 73–81.
Bates, Robin. “Fiery Speech in a World of Shadows: Rosebud’s Impact on Early Audiences.” Cinema Journal (Winter 1987): 3–26.
Bazin, André. Orson Welles: A Critical View. Translated by Jonathan Rosenbaum. New York: Harper and Row, 1978.
Bordwell, David, and Kristin Thompson. “Style in Citizen Kane.” In Film Art (New York: Knopf, 1986).
Brady, Frank. Citizen Welles. New York: Charles Scribner’s Sons, 1989.
Carringer, Robert L. The Making of Citizen Kane. Berkeley: University of California Press, 1985.
Comito, Terry, ed. Touch of Evil, screenplay by Orson Welles. New Brunswick, NJ: Rutgers University Press, 1984.
France, Richard. The Theater of Orson Welles. Lewisburg, PA: Bucknell University Press, 1977.
Higham, Charles. Orson Welles: The Rise and Fall of an American Genius. New York: St. Martin’s Press, 1985.
Leaming, Barbara. Orson Welles: A Biography. New York: Viking Press, 1985.
Lyons, Bridget Gellert, ed. Chimes at Midnight, screenplay by Orson Welles, adapted from Shakespeare. New Brunswick, NJ: Rutgers University Press, 1988.
McBride, Joseph. Orson Welles: Actor and Director. New York: Harvest Books, 1977.
Naremore, James. “The Trial: The FBI vs. Orson Welles,” Film Comment (Jan.-Feb. 1991): 22–27.
Pells, Richard H. “The Radical Stage and the Hollywood Film in the 1930s.” In Radical Visions and American Dreams. Middletown, CT: Wesleyan University Press, 1984.
Rosenbaum, Jonathan. “The Invisible Orson Welles: A First Inventory.” Sight and Sound (Summer 1986): 164–71.
Sartre, Jean-Paul. “Citizen Kane.” Translated by Dana Polan. Post Script (Fall 1987): 60–65.
Simon, William G., ed. Persistence of Vision, no. 7 (1989), special issue on Orson Welles.
Stainton, Audrey. “Don Quixote: Orson Welles’s Secret.” Sight and Sound (Autumn 1988): 253–56.
Thomson, David. “Orson Welles and Citizen Kane.” In America in the Dark. New York: William Morrow, 1977.
Welles, Orson. The Big Brass Ring, screenplay with Oja Kodar, preface by James Pepper, afterword by Jonathan Rosenbaum. Santa Barbara: Santa Teresa Press, 1987.
Wollen, Peter. “Citizen Kane.” In Readings and Writings. London: Verso, 1982.
Anderegg, Michael. Orson Welles, Shakespeare, and Popular Culture. New York: Columbia University Press, 1999.
Anile, Alberto. Orson Welles in Italy. Translated by Marcus Perryman. Bloomington: Indiana University Press, 2013.
Beja, Morris, ed. Perspectives on Orson Welles. Boston: G. K. Hall, 1995.
Benamou, Catherine L. It’s All True: Orson Welles’s Pan-American Odyssey. Berkeley: University of California Press, 2007.
Berg, Chuck, and Tom Erskine, with John C. Tibbetts. The Encyclopedia of Orson Welles. New York: Checkmark Books, 2003.
Berthome, Jean-Pierre, and François Thomas. Citizen Kane. Paris: Flammarion, 1992.
———. Orson Welles at Work. London: Phaidon, 2008.
Bessy, Maurice. Orson Welles: An Investigation into His Films and Philosophy. Translated by Ciba Vaughan. New York: Crown Publishers, 1971.
Biskind, Peter, ed. My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles. New York: Metropolitan Books, 2013.
Callow, Simon. Orson Welles: Hello Americans. London: Jonathan Cape, 2006.
———. Orson Welles: The Road to Xanadu. London: Jonathan Cape, 1995.
Carringer, Robert L. The Magnificent Ambersons: A Reconstruction. Berkeley: University of California Press, 1993.
———. “The Scripts of Citizen Kane.” Critical Inquiry 5 (1978): 369–400.
Casale, Gherardo. L’Incantesimo e Compiuto: Shakespeare Secondo Orson Welles. Turin: Lindau, 2001.
Conrad, Peter. Orson Welles: The Stories of His Life. London: Faber and Faber, 2003.
Drössler, Stefan, ed. The Unknown Orson Welles. Munich: Filmmuseum Munich and Belleville Verlag, 2004.
Estrin, Mark W. Orson Welles Interviews. Jackson: University Press of Mississippi, 2002.
Feder, Chris Welles. In My Father’s Shadow: A Daughter Remembers Orson Welles. Chapel Hill, NC: Algonquin Books of Chapel Hill, 2009.
Gottesman, Ronald, ed. Perspectives on Citizen Kane. Boston: G. K. Hall, 1996.
Haylen, Clinton. Despite the System: Orson Welles versus the Hollywood Studios. Chicago: Chicago Review Press, 2005.
Heyer, Paul. The Medium and the Magician: Orson Welles, the Radio Years. Lanham, MD: Rowman and Littlefield, 2005.
Ishaghpour, Youssef. Orson Welles: Cineaste Une Camera Visible, 3 vols. Paris: Editions de la Difference, 2001.
Koch, Howard. The Panic Broadcast. New York: Avon Books, 1970.
McBride, Joseph. Orson Welles. Rev. and exp. ed. New York: Da Capo Press, 1996.
———. Whatever Happened to Orson Welles? Portrait of an Independent Career. Lexington: University Press of Kentucky, 2006.
McGilligan, Patrick. Young Orson. New York: HarperCollins, 2015.
Mulvey, Laura. Citizen Kane. London: BFI, 1992.
Naremore, James. An Invention without a Future: Essays on Cinema. Berkeley: University of California Press, 2014.
———, ed. Orson Welles’s Citizen Kane. New York: Oxford University Press, 2003.
Orson Welles on the Air: The Radio Years. New York: Museum of Broadcasting, 1988.
Perkins, V. F. The Magnificent Ambersons. London: BFI, 1999.
Rippy, Marguerite H. Orson Welles and the Unfinished RKO Projects: A Postmodern Perspective. Carbondale: Southern Illinois University Press, 2009.
Rosenbaum, Jonathan. Discovering Orson Welles. Berkeley: University of California Press, 2007.
Tarbox, Todd. Orson Welles and Roger Hill: A Friendship in Three Acts. Albany, GA: BearManor Media, 2013.
Thomson, David. Rosebud: The Story of Orson Welles. New York: Alfred A. Knopf, 1996.
Welles, Orson, and Peter Bogdanovich. This Is Orson Welles. Edited by Jonathan Rosenbaum. New York: HarperCollins, 1992.
Welles, Orson, and Roger Hill, eds. The Mercury Shakespeare. New York: Harper, 1939.
Welles, Orson. The Cradle Will Rock: An Original Screenplay. Santa Barbara: Santa Teresa Press, 1994.
Welles, Orson. Mercury Theatre Collection. Lilly Library, Bloomington, Indiana.
Zunzunegui, Santos. Orson Welles. Madrid: Ediciones Catedra, 2005.