Orson Welles, ‘V. I. P.’, and other discoveries in Turin

Two Wellesnet reports on my recent Orson Welles archival research in Turin.

VIVA ITALIA! – REPORT ON ARCHIVAL DISCOVERIES IN TURIN

by Matthew Asprey Gear

A few weeks ago I visited Italy’s Museo Nazionale Del Cinema in Turin on a research project under the sponsorship of the Ernest Hemingway Society. While there I not only made significant discoveries to aid my project, but also had the chance to survey the highlights of a largely unexplored archive that should excite all Wellesians….

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LOST NOVEL CREDITED TO ORSON WELLES UNEARTHED IN TURIN

by Ray Kelly:

A previously unknown English-language novel credited to Orson Welles has been discovered in the archives of the National Museum of Cinema in Turin.

The bound hardcover typescript of V.I.P. ― mistakenly cataloged at one point by the museum as a treatment for the movie The V.I.P.’s  or V.I.P ― is an English version of Welles’ French novel Une Grosse Legume (A Big Shot), translated by Maurice Bessy and published by Gallimard Editions of Paris in 1953, according to Matthew Asprey Gear, author of At The End of the Street in the Shadow: Orson Welles and the City.

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Recent Publications & Appearances

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EVAN HUNTER’S JUNGLE KIDS and AN INTERVIEW WITH FLOYD SALAS

Two contributions to a beautifully illustrated book edited by Andrew Nette & Iain McIntyre called Girl Gangs, Biker Boys, and Real Cool Cats: Pulp Fiction and Youth Culture, 1950 to 1980 (Oakland: PM Press, 2017). 

The first is a long essay on Evan Hunter’s contributions to the juvenile deliquency genre including The Blackboard Jungle (1954), A Matter of Conviction (1959) and The Jungle Kids (1956).

The other is an interview with the fascinating and under-appreciated American writer Floyd Salas, conducted in collaboration with Andrew Nette: ‘Whoever Was In Control Was The One To Watch‘.

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ORSON WELLES’S THE TRIAL

A study of Orson Welles’s screen adaptation of The Trial in Jim Craddock (ed.), Books to Film: Cinematic Adaptations of Literary Works, Volume 1 (Boston: Gale Cengage Learning, 2017).

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ANTHONY BURGESS AND ORSON WELLES: HACKWORK AND BRICOLAGE

A paper presented at the Anthony Burgess: Life, Work, Reputation conference at the International Anthony Burgess Foundation, Manchester (3-5 July 2017).

Publication forthcoming.

2017-05

ADRIAN MARTIN looks at CONTRAPPASSO: WRITERS AT THE MOVIES

Adrian Martin’s article ‘What is Literary Cinephilia?’, which discusses the special ‘Writers at the Movies’ issue of Contrappasso Magazine (2015) edited by Noel King and Matthew Asprey Gear, appeared in the May 2017 issue of Sight and Sound, pp. 56-57.

At the End of the Street in the Shadow: Review by Film International

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Tony William’s long review of At the End of the Street in the Shadow: Orson Welles and the City, appeared in Film International (vol. 14, no. 2).

He writes:

Amazingly, the author has not only brought a new positive slant to those frequent academic cityscape studies that now flood the critical landscape, but has also added some relevant aesthetic, cultural and political innovations to the field of Welles studies that distinguish this treatment in its own right as well as provoke insightful readings of neglected films, such as The Trial (1962)…. Far more modest in scope in comparison to recent mega-page studies of Welles, it nevertheless supplies some very important innovations to understanding the director’s work that will make it yet another additional ‘essential reading’ in the critical canon….the book provides both a wealth of new information and fascinating evaluations and
interpretations… a work that is both innovative and original.

At the End of the Street in the Shadow: Review by Afterimage

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Matthew Moore’s review of At the End of the Street in the Shadow: Orson Welles and the City appeared in the latest issue of the US journal Afterimage (issue 44.3, 2016). Moore writes:

“If one beholds Welles’s oeuvre as one of the most multifaceted sets of modern artistic expressions, then surely one will find this newest book an enjoyable and stimulating read….  A generous number of stills, some diagrams, and a short dialogue excerpt enhance the study, fleshing out the idea that Welles’s modern cinematic vision was urban and cosmopolitan par excellence.”

For more, see HERE.

At the End of the Street in the Shadow: Review by Mediapolis

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Amy Corbin’s review of At the End of the Street in the Shadow: Orson Welles and the City appeared in the fourth issue of Mediapolis: A Journal of Cities and Culture.

Corbin calls the book “an impressive work of archival research and film analysis, documenting the director’s use of locations in both his finished work and a vast array of unfinished projects, from scripts to unedited footage.”

Read the entire review HERE.

 

Now available: At the End of the Street in the Shadow: Orson Welles and the City

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The films of Orson Welles inhabit the spaces of cities – from America’s industrializing midland to its noirish borderlands, from Europe’s medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character.

This ambitious new study explores Welles’s vision of cities by following recurring themes across his work including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles’s cinematic cities – the way he invented urban spaces on film to serve his dramatic, thematic, and ideological purposes.

The critical scope goes beyond Welles’ thirteen commercially-released feature films by drawing on extensive research in international archives and building on the work of previous scholars. Viewing Welles as a radical filmmaker whose innovative methods were only occasionally compatible with the commercial film industry, this volume examines Welles’s original visions for butchered films such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and also considers many projects the filmmaker never completed – an immense ‘shadow oeuvre’ ranging from unfinished and unreleased films to unrealized treatments and screenplays.

Touch of Evil (1958) Directed by Orson Welles Shown: Orson Welles

“A timely book that pushes past many debates dotting the beaten path of Welles criticism to consider the representation of the city, both as a physical location and an imaginary social space, in his film oeuvre. It considers incomplete and overlooked as well as unproduced works that have survived in script form; the result is a historically grounded, globally conscious study that urges us to consider the importance of the built environment in Welles’s mises-en-scène, as well as his abiding concern with the politics of modernization.”– Catherine L. Benamou, University of California-Irvine, author of It’s All True: Orson Welles’s Pan-American Odyssey

“A valuable contribution to Welles studies – well researched, highly readable, and full of fresh insights.” – Jonathan Rosenbaum, Chicago Reader film critic, author of Discovering Orson Welles

“Well researched, informative, and enjoyable to read – an original, thoughtful commentary on Welles and modernity.” – James Naremore, Indiana University, author of The Magic World of Orson Welles

From Wallflower Press/Columbia University Press.

PRESS:

Five Questions for Matthew Asprey Gear at Wellesnet

‘Lost Script Reveals What Orson Welles Really Thought About Ernest Hemingway’ at The Observer (UK)

‘Welles contra la España de Hemingway’ at Clarín (Argentina)