Indiana U. to host OW symposium next May

[Wellesnet]

http://www.wellesnet.com/?p=10558

[Ovader]

Is there a possibility of a book being published after this conference from the various film scholars' paper proposals? The reason I ask is because there was a Godard conference in Canada (2010) and a book was published of the film scholars' papers a few years later. I thought something may be considered for this event as well.

[Wellesnet]

They're probably still formulating plans for the conference, but that sounds like a very good idea.

[tonyw]

This is more than likely in view of the fact that it is his Centenary and the keynote speakers they have lined up.

[Wellesnet]

Indiana University has finalized their schedule for this April's Welles celebration:
http://news.indiana.edu/releases/iu/201 ... show.shtml

Tuesday 7 p.m. April 28, "Chimes at Midnight" -- Welles directed this underappreciated and rarely seen 1965 film in which he also starred as Falstaff. He began work on this loose mixture of Shakespeare's history plays as a student, later adapting his dream project for stage and film decades later. The film, which has one of the best battles scenes in movie history, remained one of his personal favorites. A new digital restoration will be shown.

7 p.m. Wednesday April 29, "The Magnificent Ambersons" -- In a 1942 adaptation of a Booth Tarkington tale, debonair Eugene Morgan has fallen for Isabel, a society girl from Indianapolis. RKO studio executives controversially reshot the ending and cut 40 minutes from the Welles version. Notes and photographs documenting the lost footage are included in the Lilly Library exhibition.

2 p.m. Thursday April 30, "Magician: The Astonishing Life and Work of Orson Welles" -- An enigmatic life and career is examined in this 2014 documentary by Chuck Workman. The director will introduce and discuss his film.
7 p.m. April 30, "The Immortal Story" and "F Is for Fake" -- In the first film of a double feature, Welles plays a 19th-century merchant who tries to act out the story of a sailor paid to sleep with the young wife of a wealthy man. The 55-minute piece will be followed by his last major film, in which he conjures himself as a magician who can’t be trusted.

3 p.m. Friday May 1, "Too Much Johnson" -- Made in the style of a silent-era comedy, the movie was meant to accompany Welles' 1938 theatrical staging of a farce with the same name. Due to the theater's limitations, the film was not shown. It was feared lost until a print recently turned up in Italy. A representative from the L. Jeffrey Selznick School of Film Preservation/George Eastman House will provide live commentary.
8 p.m. May 1, "Special Presentation" -- This surprise event is billed as a lecture, shorts program and sneak preview not to be missed. Closer to the event, more details will be published online.

3 p.m. Saturday May 2, "Unreleased and Rare Welles Footage" -- The montage of fugitive works will include "Hearts of Age," "The Fountain of Youth" and other clips from television, recorded stage work and unfinished films.
7 p.m. May 2, "Touch of Evil" -- Welles wrote, directed and starred in his most lurid and surreal film, playing a bad cop in a border town. Marlene Dietrich, Charlton Heston and Janet Leigh appear, among others, in this 1958 release.
9:30 p.m. May 2, "The Trial" -- Welles directed this darkly comic Kafka tale, with Anthony Perkins starring as a criminal lost in the madness of bureaucracy as he awaits his day in court.

3 p.m. Sunday May 3, "Macbeth" -- Welles reimagined the Scottish play and starred as its title character in this expressionistic, low-budget adaptation from 1948.
6:30 p.m. May 3, "Confidential Report/Mr. Arkadin" -- In 1955, the filmmaker demonstrated equal parts charm and menace as Mr. Arkadin. Like "Citizen Kane," this film uses the plot device of one man investigating the life of another.

6:30 p.m. Wednesday May 6, "Citizen Kane" -- 100 years to the day since Welles was born, IU Cinema will present a new 4K restoration of what is often cited as the greatest film ever made. The life story of a fictional publishing mogul based on William Randolph Hearst is retold through flashbacks. Remarkably, the 1941 film was Welles' Hollywood debut.

[Wellesnet]

And here is their impressive schedule of symposiums for the week:
http://www.cinema.indiana.edu/?post_type=film&p=8737

Wednesday, April 29

4:00 pm Panel presentation: "Welles and Radio: The Mercury Theatre on the Air and the Act of Media Translation" Moderated by Barbara Klinger.
A. Brad Schwartz - Chaos, Panic, and Magic: The Creation of the War of the Worlds Broadcast;
Jacob Smith - Orson Welles’s ‘Hell on Ice’ and Radio at the End of the World;
Shawn VanCour - Literary Adaptation and the Problem of Voiceover Narration in War of the Worlds

Thursday, April 30

8:00 am Panel presentation: "Welles and Technology" Moderated by Stephanie DeBoer.
Lisa Gotto - F for Future: How Orson Welles anticipated the digital age;
Matthew Solomon - An Ambivalent Anachronism: Welles and Silent Pictures;
Julie Turnock - Using the Optical Printer Like a Paint Brush: The RKO Effects Department, Citizen Kane and the Myth of Deep Focus

10:00 am Panel presentation: "Investigations in the Archive" Moderated by Rebecca Baumann.

Vivian Halloran - The Performance of Voodoo in Macbeth;
Adalberto Müller - Dracula, Kurtz and Kane: The Evil Forces in Orson Welles’ Early Work;
Shelby Plummer - Performance of Femininity in Horse Eats Hat

10:00 am Panel presentation: "Welles and Radio: ‘War of the Worlds’ and Orson Welles’ Radio Legacy" Moderated by Greg Waller.

Jennifer Hyland Wang - After the Martians: Orson Welles and the Invasion of ‘Daytime’ in the War of the Worlds Controversy;
Josh Shepperd - The Impact of War of the Worlds upon Reception Research and Censorship Discourses at the FCC and CBS;
Eleanor Patterson - Orson Welles Radio Legacy: A history of ‘War of the Worlds’ circulation and engagement in post-network radio culture

12:45 pm Keynote Address - James Naremore

Friday, May 1st

8:30 am Panel presentation: “Investigations in the Archive II” Moderated by James Naremore

Neyde Branco - F for Fake: An Essay an Authorship and the Role of the Market; Darlene Sadlier - Orson Welles on the Air: Hello Americans; Patrick McGilligan - TBA

10:30 am Panel presentation: "Welles’s Public Contexts" Moderated by Joan Hawkins

James Gilmore - The Welles Correspondences and the Struggle Against Postwar Anti-Semitism
Sidney Gottlieb - Orson Welles, Journalist: The New York Post Columns;
Susan Ohmer - The Presidential Politics of Citizen Kane;
Robert Kroll - Brevity is the Soul: Evaluating Orson Welles’ commercials and voice-overs

10:30 am Panel presentation: "Welles: New Approaches" Moderated by Craig Simpson.
Vincent Longo - Around the World: ‘Aesthetic Limbo’ and the Theatre/Film Hybrid;
David Stimilli - Slander and Blackmail: on Welles and Kafka;
M. George Stevenson - Circular Logic and the Logic of Circles: Constructing Metaphorical Space in Orson Welles’ The Trial;
Joshua Vasquez - The Fine Art of Invention: Orson Welles’ Remembrance of History in Ceiling Unlimited and Hello Americans

1:00 pm Keynote Address - Jonathan Rosenbaum "Oja Kodar’s Collaborative Work with Orson Welles"

A study of Oja Kodar’s work as a collaborator in the late works and projects of Orson Welles—chiefly as writer and actress, but in other capacities as well (e.g., designer of costumes and props on The Merchant of Venice, assistant director on The Magic Show, co-director (on one sequence) of The Other Side of the Wind, and slate holder and/or focus puller on multiple projects).

8:00 pm Panel Discussion: THE OTHER SIDE OF THE WIND

Panelists include:
Joseph McBride
Jonathan Rosenbaum
Josh Karp (Orson Welles's Last Movie: The Making of The Other Side of the Wind, 2015)
Filip Jan Rymsza (Managing Partner, Royal Road Entertainment, Producer, The Other Side of the Wind)
James Naremore (Moderator)

Saturday, May 2

1:00 pm Panel presentation: “Investigations in the Archive III” Moderated by James Naremore

Francois Thomas - 1953-6: The Filmorsa Years;
Marguerite Rippy - Macbeth and Beyond: Welles and Harlem;
Matt Hauske - Staging the Impossible: Orson Welles’s Moby Dick—Rehearsed;
Catherine Benamou - Orson Welles’s Itineraries, In and Through It’s All True 1941-42

[Wellesnet]

Begins this Tuesday:
http://www.wellesnet.com/indiana-univer ... entennial/

[Wellesnet]

Hats off to Indiana University, for it's centennial tribute to Welles this past week, including films, lectures, symposiums, and a beautiful exhibit at the Lilly Library. Especially noteworthy was the live streaming of more than a dozen Wellesian presentations, so they could be enjoyed by anyone and everyone with access to the Internet, a very nice innovation that worked remarkably well!

Review of James Naremore's keynote speech at Indiana U.:
http://mediaschool.indiana.edu/news/nar ... n-keynote/

[Ovader]

I still like the idea of a book published from the lectures presented at this conference as I've mentioned in my October 2014 post. I haven't come across any news of such a proposal may be possible but I thought I would plant the idea into anyone who may have the authority to pursue such a course.

[Ovader]

Ha! Orson Welles in Focus: Texts and Contexts is to be published!