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Power and Dis-Integration in the Films of Orson Welles

Beverle Houston
Film Quarterly
Vol. 35, No. 4 (Summer, 1982), pp. 2-12
DOI: 10.2307/1212093
Stable URL: http://www.jstor.org/stable/1212093
Page Count: 11
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Power and Dis-Integration in the Films of Orson Welles
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Abstract

On the "Power Baby," the central figure of desire and contradiction, notably manifested in "Kane" and "Ambersons", but also apparent in many other Welles films.

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