Bibliographic record
Abstract
present article provides a comprehensive reference guide for the screen adaptations of Shakespeare's plays directed by Orson Welles (1915-1985), including his partially lost film of Merchant of Venice (1969) and the documentary Filming Othello (1978). checklist includes one section for each of these films in chronological order, providing full details of all the relevant critical studies devoted to them. Although the bibliography attempts to be as exhaustive as possible, certain entries have been discarded: abstracts, announcements, dissertations, reports of conferences and courses, and works containing only passing references. Interviews have been listed only if they specifically deal with one or several Shakespearean adaptations; those referring to Welles's whole oeuvre have been excluded. Coverage of reviews is necessarily selective for reasons of space; the reader may instead consult World Bibliography Online for a fuller coverage. citation of online material is also selective. Items in the bibliography are usually annotated, providing further information about their content, about their referencing of other filmic adaptations of Shakespeare, and/or about their language (if the title does not clarify it). I have not added annotations when a particular item can be classified as an overview of Welles's directorial career, a general study of one film or if the title well describes its contents. Similarly, limitations of space have forced me to exclude reprints unless they constitute a substantial revision of the original item. present bibliography is not restricted to English-language studies; it also includes references to articles in French, German, Italian, Spanish and other languages. If an entry deals with two or more films by Welles, it will be fully listed the first time it appears and, in order to avoid repetition, cross-referenced at the end of each subsequent section. Several people deserve to be mentioned here since they helped me in many different ways while I was looking for relevant material. David Sharp at the British Film Institute provided expert help and friendly conversation while informing me about the existence of material I would never have found without his assistance. Gracia Navas Quintana's work at the Interlibrary Loan Service Section in my university proved invaluable in locating rare materials. Judith Buchanan, Marta Cerezo, Celestino Deleyto, Miguel Angel Gonzalez, James L. Harner, Sarah Hatchuel, Bernice Kliman, Sofia Munoz Valdivieso, Kenneth S. Rothwell and Mariangela Tempera kindly replied to my queries, provided detailed information about their publications or sent me xeroxes and offprints. An earlier version of the Othello section was initially presented as a paper at the 2004 Meeting of the Association of America in New Orleans, and I am immensely grateful to Samuel Crowl for having invited me to contribute it to the workshop on Film. A. Macbeth Dir. Orson Welles (USA, 1948) A1. Anderegg, Michael. Welles/Shakespeare/Film: An Overview. Orson Welles, Shakespeare, and Popular Culture. Film and Culture Series. New York: Columbia UP, 1999. 57-73. A2. --. Shakespeare Rides Again: Republic Orson Welles, Shakespeare, and Popular Culture. Film and Culture Series. New York: Columbia UP, 1999. 74-97. A3. --. In and Out of Hollywood: in the Studio Era. Cinematic Shakespeare. Lanham: Rowman & Littlefield, 2004. 86-117. [Also deals with Joseph Mankiewicz's Julius Caesar (1953) and Laurence Olivier's Richard III (1955).] A4. Barasch, Frances K. Revisionist Art: Macbeth on Film. University of Dayton Review 14.1 (Winter 1979-80): 15-20. [Compares the adaptations directed by Orson Welles and Roman Polanski (1971).] A5. Bechervaise, Neil. Macbeth. Teaching on Screen. The Film's the Thing. Vancouver: Pacific Educational, 2001. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.018 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.025 | 0.028 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.004 | 0.005 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.102 | 0.041 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".