1. At least ten years ago, Stanley Crouch, then of Pomona College, now of the Village Voice , called me up in the middle of the night to discuss some Welles films we had recently seen. Then, as now, the urgency of a 3 a.m. phone call on this subject seemed perfectly reasonable, and our conversation began to move my thoughts in their present direction. [BACK]

2. Orson Welles (New York: Viking Press, 1972), p. 43. [BACK]

3. Freud sees this characteristic as signalling an infantile fixation in the "'cannibalistic' or 'oral' phase, during which the original attachment of sexuality to the nutritional instincts still dominates the scene." "From the History of an Infantile Neurosis (The Wolf Man)," Three Case Histories (New York: Macmillan, Collier Books, 1963), p. 299. [BACK]

5. Jean-Louis Baudry, "Ideological Effects of the Basic Cinematographic Apparatus," Film Quarterly (Winter 1974-75), p. 45. [BACK]

6. "Ellipsis on Dread and the Specular Seduction," Wide Angle , Vol. 3, no. 3 (1979), pp. 42-47. [BACK]

7. For a discussion of Welles's films in terms of realism, however, see André Bazin, Orson Welles (New York: Harper & Row, 1978). For further discussion of all aspects of Welles's work and biography, see: Joseph McBride (see note 2); Ronald Gottesman, ed., Focus on Orson Welles (New Jersey: Prentice-Hall, Inc., 1976); James Naremore, The Magic World of Orson Welles (New York: Oxford Univ. Press, 1978); Charles Higham, The Films of Orson Welles (Berkeley: Univ. of Calif. Press, 1970); Pauline Kael, The CITIZEN KANE Book (Boston: Little, Brown, 1971); Peter Cowie, A Ribbon of Dreams: The Cinema of Orson Welles (New York: A. S. Barnes, 1973); Peter Bogdanovich, The Cinema of Orson Welles (New York: Museum of Modern Art, 1961); Robert Carringer, "Rosebud Dead or Alive: Narrative and Symbolic Structure in Citizen Kane," PMLA (March 1976). [BACK]