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Abstract: Renowned collaborators, Wim Wenders and Peter Handke share an obsession with narratives not only about death and murder but
about the murderous action of narrative itself. In "Lightning Over Water", however, Wenders breaks with this aesthetic bond
and confronts these narrative patterns of murder in order to expose the Oedipal logic on which they are based. Like no other
Wenders work, the film redeems its subject and father-figure, Nick Ray, from the traditional death through imagistic homage,
and so becomes a most significant move in Wenders's historical development.
John C. Stubbs
Abstract: The essay traces the evolution of "Touch of Evil" through its four major stages: an original novel by Robert Wade and William
Miller, a screenplay by Paul Monash, a screenplay by Orson Welles, and the film itself. It attempts to clarify the extent
of Welles's indebtedness to his previous sources and the ways in which he reshaped that material to make it his own.
Robert C. Allen
Jack C. Ellis
Janice R. Welsch
Virginia Wright Wexman
Mirella Jona Affron