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 invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds 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 the filmmaker's original vision for butchered films, such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and considers many projects the filmmaker never completed-an immense "shadow oeuvre" ranging from unfinished and unreleased films to unrealized treatments and screenplays.

CONTRAPPASSO is an independent biannual magazine of international writing published in Sydney, Australia. Issue 4 is our most international to date, featuring writing from Mexico, China, Russia, Italy, the UK, Ireland, New Zealand, the USA, and Australia. Highlights include the Crate-Diggers' Symposium - in-depth interviews with America's leading rare music anthologists - and a series of tributes to the late Seamus Heaney. We have a newly translated short story by the Mexican writer Juan Villoro and new fiction by Clive Sinclair and Elisabeth Murray; with poetry by David Howard, Hong Ying, John Leonard, Tegan Jane Schetrumpf, Joe Dolce, Paolo Fabrizio Iacuzzi, Mira Peck, Chris Oakey, Mikhail Yeryomin, Morris Lurie, Rogelio Guedea, Erin Martine Sessions, Floyd Salas, Phillip A. Ellis, Richard Tipping, and Todd Turner.

From one of America's great writers, this delightful collection - the first of its kind - contains twenty-three adventurous tales set in the San Francisco Bay Area. If San Francisco has captured the world's imagination through the hardboiled stories of Dashiell Hammett, the prose and poetry of Jack Kerouac and his fellow Beats, through Orson Welles' Lady From Shanghai and Alfred Hitchcock's Vertigo, it is as a romantic city of vast suspension bridges and foggy back alleys, not as the wild west of Jack London's day. Pre-quake San Francisco was a tough town, and Jack London - hobo, sailor, oyster pirate, hard drinker - was pretty tough, too. Although famous for his stories of the Klondike and the Pacific, London wrote extensively about his home base. This collection contains such classic stories as 'The Apostate' and 'South of the Slot' as well as extracts from John Barleycorn and The Sea-Wolf. The overlooked 1905 story cycle Tales of the Fish Patrol is included in its entirety. London's vivid eyewitness report of the Great 1906 Earthquake and Fire - which destroyed forever the old city - stands as a fitting epilogue. Discover a vanished San Francisco in these wonderful stories of Jack London.

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 invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds 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 the filmmaker's original vision for butchered films, such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and considers many projects the filmmaker never completed-an immense "shadow oeuvre" ranging from unfinished and unreleased films to unrealized treatments and screenplays.