Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE ( © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 26 September 2020

Abstract and Keywords

Orson Welles was as multifaceted as Shakespeare in drawing his material from manifold sources across multiple media. His 1952 film Othello strategically echoes Verdi and Boito’s 1887 opera Otello, and thereby vindicates his adaptation’s liberties by triangulating and transmediating his sources. Invoking Verdi also permitted Welles to contrast his own Shakespeare films with those of Laurence Olivier, whom Welles dismissed as merely a transcriber of stage versions. In contrast, Welles described his own editing practice as being more akin to musical composition. Attending to Welles’s recurrent annexation of opera offers a more suggestive account of his creative process and ultimate achievement.

Keywords: Key terms, Welles, Othello, Verdi and Boito, Otello, opera, transmediating sources, editing, creative process, Olivier

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.