De Falstfaff à F for Fake, de Shakespeare à Welles : les puissances du faux et la mort de l’auteur en question
- Submitting institution
-
Roehampton University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 3892181
- Type
- D - Journal article
- DOI
-
-
- Title of journal
- Shakespeare en devenir
- Article number
- 0
- First page
- 0
- Volume
- 15
- Issue
- -
- ISSN
- 1958-9476
- Open access status
- Compliant
- Month of publication
- December
- Year of publication
- 2020
- URL
-
https://shakespeare.edel.univ-poitiers.fr/index.php?id=2511
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- Orson Welles has long been associated with and 'in dialogue' with Shakespeare. However in F for Fake (1975), that dialogue is less obvious. This article explores the Welles/Shakespeare relationship through reference to the dialectic in the film between truth and fake, original and copy. Can we read F for Fake as an homage to Falstaff, to forgers and illusionists, and ultimately as a mirror for Welles? This article argues that, as an essay film that interrogates the death of the author and the power of the false, F for Fake could equally well be titled ‘F for Falstaff’.
