UNIVERSITA' DEGLI STUDI DI PAVIA - DIPARTIMENTO DI SCIENZE MUSICOLOGICHE E PALEOGRAFICO- FILOLOGICHE

Italian - ItalyEnglish (United Kingdom)

References

  • Bazin, André (1958), Orson Welles, Paris, Chavanne (it. transl. Elena Dagrada: Orson Welles,Trento, Temi, 2005).
  • Beck, Jay – Grajeda, Tony (2008) [eds.], Lowering the Boom. Critical Studies in Film Sound, Urbana, University of Illinois Press.
  • Calabretto, Roberto (2010), Lo schermo sonoro. La musica per film, Venezia, Marsilio.
  • Canosa, Michele (2001), “Per una teoria del restauro cinematografico”, in Brunetta, Gian Piero [cur.], Storia del cinema mondiale, vol. V (Teorie, strumenti, memorie), pp. 1069-1118.
  • Comito, Terry (1985), Touch of Evil: Orson Welles, Director, New Brunswick, Rutgers University Press.
  • Grajeda, Tony (2008), “‘A Question of the Ear’. Listening to Touch of Evil”, in Beck, Jay – Grajeda, Tony [eds.], Lowering the Boom. Critical Studies in Film Sound, Urbana, University of Illinois Press, pp. 202-217.
  • Leeper, Jill (2001), “Crossing Musical Borders: The Soundtrack for Touch of Evil”, in Robertson Wojcik, Pamela – Knight, Arthur [eds.], Soundtrack available. Essay on Film and Popular music, Durham, Duke University Press, pp. 226-243.
  • Mancini, Henry – Lees, Gene (1989), Did They Mention the Music?, Chicago, Contemporary.
  • Mazzanti, Nicola – Farinelli, Gian Luca (2001), “Il restauro: metodo e tecnica”, in Brunetta, Gian Piero [cur.], Storia del cinema mondiale, vol. V (Teorie, strumenti, memorie), pp. 1119-1174.
  • Micciché, Lino (2002), Filmologia e filologia. Studi sul cinema italiano, Venezia, Marsilio.
  • Murch, Walter (1998), “Restoring the Touch of Genius to a Classic”, New York Times, 6 September, section 2, pp. 16-17.
  • — (2003), “Touch of silence”, in Sider, Larry – Sider, Jerry – Freeman, Diane [eds.], Soundscape: The School of Sound Lectures 1998-2001, London, Wallflower, pp. 83-102.
  • Naremore, James (1978), The Magic World of Orson Welles, Dallas, Southern Methodist University Press (trad. it. Orson Welles. Ovvero la magia del cinema, Venezia, Marsilio, 2004).
  • Ondaatje, Michael (2002), The Conversation: Walter Murch and the Art of Editing Film, New York, Alfred A. Knopf.
  • Placereani, Giorgio – Giuliani, Luca (2007) [cur.], My name is Orson Welles. Media, forme, linguaggi, Milano, Il Castoro.
  • Rasmussen, Randy (2006), “Touch of Evil: No Man’s Land”, in Id., Orson Welles: Six Films Analysed, Scene by Scene, Jefferson, McFarland, pp. 136-178.
  • Tully, Tim (1999), “The Sound of Evil”, Videography Magazine, January (also available at Filmsound.org).
  • Venturelli, Renato (2007), L’età del noir. Ombre, incubi e delitti nel cinema americano 1940-60, Torino, Einaudi.
  • Venturini, Simone (2006) [cur.], Il restauro cinematografico. Principi, teorie, metodi, Udine, Campanotto.
  • Welles, Orson (1957), “‘Touch of Evil’. Notes from director Orson Welles”, December 5, 1957, facsimile allegato a Touch of Evil, 50th Anniversary Edition, Universal, 2008.

 

Film details

WELLES ORSON, TOUCH OF EVIL (USA 1958, 93’ - 1976, 108’)
Screenplay: (based on Badge of Evil by W. Masterson) O. Welles, P. Monash, F. Coen – Director of photography: R. Metty – Sound: L. I. Carey, F. Wilkinson – Music: H. Mancini – Music supervision: J. Gershenson – Film editors: V. Vogel A. Stell – Gowns: B. Thomas - Make-up: B. Westmore – Assistant director: P. Bowles – Producer: A. Zugsmith – Cast: C. Heston, J. Leigh, O. Welles, J. Calleia, A. Tamiroff, J. Moore, R. Collins, D. Weaver, V. De Vargas, M. Mills, V. Millan, L. Rios, M. Sargent, P. Harvey, J. Lansing, H. Shannon, M. Dietrich, Z. Gabor.

WELLES ORSON, TOUCH OF EVIL (USA 1998, 112’)
Producer: R. Schmidlin – Editor: W. Murch – Re-recording: B. Varney, P. Reale, W. Murch – Picture restoration: B. O’Neil – Consultant: J. Rosenbaum – Assistant editor: S. Cullen – Supervising sound editor: R. LeGrand, Jr. – Sound effects editors: H. Snodgrass, R. McNabb, W. Hooper – Title design: D. Ross Film Design – Digital restoration services: Pacific Title/Mirage, Restoration Division – Titles and optical effects: Pacific Title/Mirage, Optical Division – Laboratory services: YCM Laboratories – Negative restoration, cutting and timing: E. Aijala – Restored by: Universal Studios, Restoration Services.