If you’ve done research on Welles, you’ll probably know that Bret Wood’s Orson Welles: A Bio-Bibliography is a great source for keeping track of what Welles did, as well as what’s been written about him. Unfortunately, that book was published in 1990, and is thus quite a ways out of date. Here then are selected articles on Welles written during the last 11 years. I have left out simple video reviews and daily newspaper reviews for things like the re-releases of Othello and Touch of Evil, as I felt that most them don’t really have much of anything unique to say. They’re easy enough to track down should you be so inclined. So, without further ado, here are the articles, from most recent back. If you know of further articles not included here, please let me know.
- "Will You Play Prince Hal? - A Conversation With Keith Baxter." Tonguette, Peter. The Film Journal. February 2004. Online here.
- "'You Look Pretty Splendid Yourself, Orson': A Conversation With Curtis Harrington." Tonguette, Peter. Bright Lights Film Journal. May 2004. Online here.
- "Where Is The Other Side
of the Wind? or Quien es mas macho: Orson Welles, John Huston, or Ernest
Hemingway?" Gagne, Nicole V. Cineaste, Winter 2003, p 4-7.
- "The Stranger." Lafrance, J.D. Senses of Cinema, Nov-Dec 2003. Online here.
- "Orson Welles' Young Magician Friend: A Conversation With Jim Steinmeyer." Tonguette, Peter. Film Journal 1, No. 6. Online here.
- "The Presence of Orson Welles in Robert Stevenson's Jane Eyre." Campbell, Gardner. Literature/Film Quarterly, Winter 2003, p 2-9.
- "From the Beginning: Notes on Orson Welles' Most Personal Late Film." Tonguette, Peter. Senses of Cinema, July-August 2003. Online here.
- "Prólogo y epílogo (un ensayo sobre Citizen Kane de Orson Welles)" Trías, Eugenio. Revista de Occidente, March 2002. p 83-104.
- "So Little More Than Voices: Orson Welles' 1945 Radio Production of Heart of Darkness." Billy, Ted. Conradiana: A Journal of Joseph Conrad Studies, Fall 2002. p 171-79.
- "Mirages in the Desert: The War of the Worlds and Fin du Globe." Trushell, John. Extrapolation: A Journal of Science Fiction and Fantasy, Winter2002. p 439-55.
- "'Lemme Stay, I Want to Watch': Ambivalence in Borderlands Cinema." Calvo, Luz. In Habell-Pallán, Michelle (ed. and introd.)--Romero, Mary (ed. and introd.); vi, 280 pp.; Latino/a Popular Culture; New York UP, New York, NY, 2002.
- "Orson Welles's The Trial: Film Noir and the Kafkaesque." Adams, Jeffrey. College Literature, Summer 2002. p 140-57.
- "Strange New Worlds: Constructions of Venice and Cyprus in the Orson Welles and Oliver Parker Films of Othello." Willson, Robert F., Jr. Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship, Summer 2002. p 37-39.
- "Black and White as Technique in Orson Welles's Othello." Stone, James W. Literature/Film Quarterly, Fall 2002. p 189-93.
- "An Abandoned Mine: Notes on Orson Welles' Radio Work." Martin, Adrian. Senses of Cinema, Jan-Feb 2002. Online here.
- "The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music." Rosar, William H. In: Donnelly, K. J. (ed. and introd.); Film Music: Critical Approaches; Continuum, New York, NY, 2002.
- "The Immortal Story: Like the Sound of the Sea Deep within a Shell." Danks, Adrian, Senses of Cinema, Nov-Dec, 2001. Online here.
-"Tan lejos de Dios: The Production of Space and the Meaning of Power in Orson Welles' Touch of Evil" Ivan Zatz. Found Object, Spring 2001. p 55-84.
-"The Lady From Shanghai: California Orientalism and 'Guys Like Us.'" Michael Davidson. Western American Literature, Winter 2001. p 347-71.
-"A 'New Deal' and a New Direction: Welles' and Houseman's Depression-Era Productions of Macbeth, Doctor Faustus, and Julius Caesar." Kim Axline. Theatre Studies, 45, p 16-49.
-"Scotland Saved From History: Welles' Macbeth and the Ahistoricism of Medieval Film." Arthur Lindley. Literature/Film Quarterly, 29:2, p 96-100.
- "Borderline Justice/States
of Emergency: Orson Welles' Touch of Evil." Pease, Donald E. CR:
The New Centennial Review, Spring 2001. p 75-105.
- "Crossing Musical Borders: The Soundtrack for Touch of Evil." Leeper, Jill In: Wojcik, Pamela Robertson (ed. and introd.)--Knight, Arthur (ed. and introd.); Soundtrack Available: Essays on Film and Popular Music; Duke UP, Durham, NC, 2001.
-"The Magnificent Ambersons: Unmasking the Code." Lorna Fitzsimmons. Literature/Film Quarterly 28:4, p 293-302.
-"Orson Welles' Mr. Arkadin: A Maze of Death." Philippe St-Germain. Senses of Cinema: An Online Film Journal Devoted to Serious and Eclectic Discussion of Cinema. Nov. 2000. Online here.
-"Unfinished Film Symphonies: A Comparative Study of Que Viva Mexico! and It's All True." Julian Cornell. Cinemas d'Amerique Latine. Number 8. p 133-55.
-“Was it Citizen Hearst or Citizen Welles?” David Thomson. The New York Times, 9/17/00.
-“A battle of egos over 'Kane.'” Peter M. Nichols. The New York Times, 9/8/00.
-“Reviving Orson: or Rosebud, Dead or Alive.” Paul Arthur. Cineaste, Summer 2000.
-“All's Welles that ends Welles.” Thomas Doherty. The Chronicle of Higher Education, 2/25/00 B11
-"Dinesen in Three Dimensions: A Comparison of Irony in Two Films of Dinesen's Stories." Literature/Film Quarterly, 28:1, p 49-53.
-“The cradle that ROCKED America.” Joseph Gustaitis. American History, Feb 2000 p17.
-"Backstage and Onstage: The Drama of Native Son." Hazel Rowley. Mississippi Quarterly. Spring 1999, p 215-37.
-"The Dark Continent of Film Noir: Race, Displacement and Metaphor in Tourneur's Cat People and Welles' The Lady From Shanghai." Ann E. Kaplan. In Women in Film Noir. 1998.
-"Orson Welles' Othello: Shakespeare Meets Film Noir." Alfred Jacobs. In Shakespeare and the Twentieth Century. 1998.
-"Citizen Kane, un film d'Orson Welles dans le textes de Georges Perec." Wilfrid Mazzorato. Cabinet d'Amateur. December 1998. 217-233.
-“Orson Welles: Shakespeare for the art houses.” (Shakespeare in the Cinema) Kenneth S. Rothwell. Cineaste, Winter 1998 p28.
-“Restoring a Touch of Genius to a Classic Film.” Walter Murch. New York Times, 9/8/98.
-“The construction of space and the monstrous-feminine in the Welles-text.” Critical Survey, May 1998.
-“Rita Hayworth and Orson Welles.” David Thomson. Architectural Digest, April 1998 p266.
-“Orson Welles: The One-Man Band.” Stanley Kauffmann. The New Republic, Jan 6, 1997 p24.
"When Peter Met Orson: The 1953 CBS King Lear." In Shakespeare, The Movie. Ed. Lynda Boose. 1997.
"Transforming Text: Iago's Infection in Welles' Othello." Word & Image, Oct-Dec 1997 p 333-39.
"Collective Misunderstandings due to Misframing: The Cases of Orson Welles (1938) and Philipp Jenninger." In Semiotics Around the World. Ed. Irmengard Rauch & Gerald Carr. 1997.
"The Seeing Ear: The Presence of Radio in Orson Welles's Heart of Darkness." In Conrad on Film. Ed Gene M. Moore, 1997.
"2 1/2 Film Versions of Heart of Darkness." In Conrad on Film. Ed Gene M. Moore, 1997.
"Voodoo Macbeth." Simon Callow. In Rhapsodies in Black: Art of the Harlem Renaissance. 1997.
-“Foreign relations: Welles and Touch of Evil.” Peter Wollen. Sight and Sound, Oct 1996 p20.
-“The battle over Orson Welles.” Jonathan Rosenbaum. Cineaste, Summer 1996 p6.
-“Hoover, Hearst & Citizen Welles: when the F.B.I. planned to round up the usual suspects, guess who made the list?” Jon Wiener. The Nation, May 27, 1996 p20.
-“Orson Welles.” Simon Callow. Architectural Digest, April 1996 p140.
-“An Actor-Biographer Plays Alter Ego to Orson Welles.” Mel Gussow. New York Times, 2/12/96.
-“A Dark Genius Haunts the Hollywood He Taunted.” Alex Ross. New York Times, 1/21/96.
-“Cameos, guest stars, and real people, with a special appearance by Orson Welles.” Michael Anderegg. Michigan Quarterly Review, Winter 1996 p42.
-“Comedy, cultural poetics, and 'Chimes At Midnight.'” Leonard F. Dean. The Sewanee Review, Summer 1994. p451.
-“Re-inventing Orson Welles.” Maria Garcia. Films in Review, May-June 1994. p12.
-“Recognizing the Stranger.” Bret Wood. Video Watchdog, May-July 1994. p 28-39.
-“Kiss Hollywood Goodbye: Orson Welles and The Lady From Shanghai.” Bret Wood. Video Watchdog, May-July, 1994. p40-53.
-“Othello, Desdemona, and Me.” Harriet White Madin. Video Watchdog, May-July 1994. p 54-57.
-“Burning masterworks: from 'Kane' to 'F for Fake.'” Richard Combs. Film Comment, Jan-Feb 1994. p50.
-“Improving Mr Welles.” Jonathan Rosenbaum. Sight and Sound, Oct 1992. p28.
-“Perplexed in the extreme.” Philip Kemp. Sight and Sound, Oct 1992. p31.
-"Orson Welles' Othello and the Welles-Smith Restoration: Definitive Version?" David Impastato. Shakespeare Bulletin, Fall 1992. p 38-41.