Course Description: This course qualifies for the Loser Studies Track in the English Department.
This course celebrates the 400th death-iversary of Shakespeare (1616) and, belatedly, the 100th anniversary of the birthday of Orson Welles (2015). We’ll look closely at Welles’s many Shakespeare adaptations, including stage productions of Julius Caesar and Voodoo Macbeth; films of Macbeth, Othello, and Falstaff: The Chimes at Midnight; and a TV King Lear and a TV documentary Filming Othello.  We will also examine some problems in editing Shakespeare that are comparable to those of reconstructing Welles’s films, focusing on Macbeth, Henry IV Parts One and Two, and Othello.  We’ll also look at them in relation to Citizen Kane (the opening flashbackdevice is repeated in Othello), The Lady from Shanghai (jealousy), Touch of Evil (as a remake of Othello), and F! for Fake.  As they are relevant, we’ll also watch films in which Welles starred but did not direct, including The Third Man, Journey into Fear, and Jane Eyre.  And we’ll look at Welles as a case study to reflect more broadly on literature and film and on some of the consequences for film and film criticism of digital archiving, such as websites devoted to Welles and to Voodoo Macbeth, and video and digital film, looking both at low quality youtube uploads of films, TV interviews, TV commercials, TV programs, often unavailable elsewhere, and high quality blu-ray critical editions such as the Criterion Othello, the Carlotta Macbeth and Othello, a French 3 disc DVD editon of Macbeth without English subtitles for the supplements in French. We’ll examine critical debates over how best to restore and reconstruct some of Welles’ films, including of Touch of Evil, Othello, and the Criterion Complete Mr. Akardin (all of which exist in three different versions).  Readings will include excerpts from biographies, film criticism articles, and book chapters of film criticism.
Requirements: Bring copies of any of the required books and essays to class as required; co-lead class discussion once in a two period class; give a report once in a one period class; a Film Clip Analysis; two 500 word papers; two discussion questions, three shot analyses, and three or more "BIG WORDS" for each class; student formulated quizzes each class approved by me; and a willingness to reflect, think, respond, by paying very, VERY, VERY close formal attention to texts and films.