f for fake
f for fake literature essays are academic essays for citation. these papers were written primarily by students and provide critical analysis of f for fake .
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f for fake: all’s well that ends with welles... | bfi
f for fake is at the bfi southbank and on limited release from today .
this piece originally appeared in the criterion collection’s 2005 dvd edition of f for fake .
looking for movie tickets? enter your location to see which movie theaters are playing f for fake near you .
sexton, timothy .
f for fake summary
. gradesaver, 10 september 2016 web .
fake news
by steve f - 6. 13. 17 ~ intel
elmyr de hory
f for fake
original orson welles 1976 u. s. release art trailer
every big weather event, fake news, fake photos, fake video abounds. here are a few of our favorites to look out for .
the question and answer section for f for fake is a great resource to ask questions, find answers, and discuss the novel .
so first - time viewers familiar with welles’s travails may be stunned at how downright ebullient f for fake is .
*
f for fake
is available in video stores or by calling (800) 826 - 3456 .
elmyr de hory
f for fake
original orson welles 1976 u. s. release art trailer - youtube
orson welles' s
f for fake
has languished ever since its release and remains unappreciated by the most heterogeneous audience .
claudia thieme, f for fake: and the growth in complexity of orson welles' documentary form (peter lang pub. , 1997) 174pp .
a library for generating fake data such as names, addresses, and phone numbers .
sound critics’ poll, geoff andrew champions welles’s final, lesser - known masterpiece, the dazzling ‘essay film’ f for fake, as it is rereleased nationwide .
f for fake was not enjoyable. i would not consider it a good film. however, the context of which the film was made — and the person behind the film — makes f for fake and incredibly interesting look at filmmaking. (i’m going to do my best to break this down) .
if that fake agreement is still in existence, i' ll get it for you .
f for fake study guide contains a biography of orson welles, literature essays, quiz questions, major themes, characters, and a full summary and analysis .
f is for phony provides stimulating thought, if not answers, about fakery and truth in documentaries .
[ … ] have called f for fake welles’ “ultimate mirror”, and mirrors figure vigorously in welles’ films. first, kane walks between two mirrors in a [ … ]
f for fake is arguably orson welles' s greatest film work. just as citizen kane was exemplary of baroque art, f for fake is the celluloid version of a picasso painting. and in the modern world where truth is relative, and art is subjective, welles forces us to ask - -
when the authority says fake is real, what is real and what is fake ?
this film works on many, many levels. pure, unadulterated genius .
, and benjamin sampson’s “layers of paradox in f for fake. ” i’ve selected sampson’s piece for this debut issue for two reasons. first, the subject of his visual essay is a prototype of the visual essay (along with the work of
while making the fake cast at home is more fun, you can always order a fake cast online as they are quite inexpensive .
the rumors are that these scenes were shot by francois reichenbach, one of the first practitioners of cinema verite, who himself shows up throughout “f for fake, ” for which he receives credit as the production coordinator. “f for fake” is so stylish in all its parts, in its editing and particularly in a final fiction se' suence that, if it is a fake, it' s a marvelous one, and to hell with the signature on it .
it has been suggested that
f for fake
was, in part, welles' answer to pauline kael' s controversial article in which she challenged his contributions to the
citizen kane
screenplay. ironically, rosenbaum noted ,
f for fake
is the only other film besides
kane
in which welles enjoyed complete creative control without any outside interference .
commissioned and published for the voyager laserdisc of f for fake in 1995. my thanks to marcio sattin in são paulo for giving me a printout of this untitled “lost” essay in spring 2015, which i’ve slightly re - edited. - – j. r .
as a measure of how brilliant welles’s editing is in f for fake, compare it to the staid if informative “almost true: the noble art of forgery” included on the criterion collection’s top - notch release of f for fake. there’s nothing wrong with this 52 - minute documentary about de hory (it was released in 1997). it simply wilts next to welles’s frenetic genius .
the essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide and the ethics of reality - based manipulation .
f for fake remains one of welles’ most controversial works. for many spectators, it’s not really a “welles film” at all. by refusing to include “typical wellesian” shots – - a deliberate ploy, one learns from a 1982 interview – some viewers may feel they’ve been sold a bill of good. for many people, the welles legend has much more potency than the reality; f for fake seems to be both inspired by this paradox and structured around it .
ironically, while welles lived another 13 years, f for fake was his last completed feature. he stayed busy with commercials and various appearances on tv as well as in other people’s films, but he never managed to bring another film of his own to closure. footage from some of his unfinished projects is included on the criterion release of f for fake, and judging it based on snippets, none of it seems worthy of the director of citizen kane and touch of evil – or f for fake, for that matter. the budgets are clearly threadbare, so the technical elements suffer, and sometimes the drama seems woefully slow and ponderous .
github - stympy / faker: a library for generating fake data such as names, addresses, and phone numbers .
reality? it is the toothbrush waiting at home for you in its glass, a bus ticket, a paycheck and the grave, ” says orson welles in one of the final sequences of f for fake. the cinematic enfant terrible has never cared much for it. reality, that is .
video:' f for fake' joins orson welles rarities: the mischievous' 70s documentary is new to home viewers, as is the uncut' third man' and his turn in' three cases of murder.'
“f for fake” is a documentary compounded of tricks, reversals, interviews with real forgers and re‐creations of events that never happened. it' s as much magic show as movie, a lark that is great fun even when one wishes the magician would take off his black slouch hat and his magician' s cape and get back to making real movies. but did he really make this one? and is “f for fake” not a real movie ?
this is the beginning of mr. weiles' s latest film, “f for fake, ” a charming, witty meditation upon fakery, forgery, swindling and art, a movie that may itself be its own exhibit a .
video:' f for fake' joins orson welles rarities: the mischievous' 70s documentary is new to home viewers, as is the uncut' third man' and his turn in' three cases of murder.' - latimes
also worth pondering, he said, is the dialectic between the titles :
it' s all true ,
produced at the beginning of welles' career, and
f for fake ,
one of his last completed projects .
the film image is only an image, and on this subtly unobvious premise welles frames f for fake and validates the fakery of film artistry by evincing the fakery of life / people, suggesting that movies have become the art of the 20th century precisely because of this innate mechanism to handle the unreal, the fake (again, gabler rightly shows that the preponderance of movie fakery has been uncritically accepted by americans; whereas artistic fakery might well be the antidote). the structure of f for fake also plays out the meaning of the mirror imagery from his earlier films .
obama is a fake. we all know that, the issue is not in question .
this video of “hurricane irma” blasting barbuda is exploding online. only problem? it’s fake !
fake gps location fakes / changes your location. fast, instant, and easy to use
which is one of the things that “f for fake” is all about. midway through the film, after we' ve listened to stories that may or may not be true about mr. de hory' s sucess in supplying the art world with fake matisses, picassos and modiglianis, mr. welles reminds us that there are no signatures on the cathedral at chartres. chartres needs no “experts” to authenticate its grandeur, he says. “experts” are the villans of “f for fake”—people who must tell us whether we should swoon when looking at a particular painting or turn up our noses in disgust .
fake documentaries mimic documentary genre expectations, unraveling the documentary’s authority and dismantling understandings of identity, history, and nation. the interdisciplinary essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide, the ethics of reality - based manipulation, and whether documentariness derives from form or reception .
f for fake
is minor welles, the master idly tuning his instrument while the concert seems never to start again. but it' s engaging and fun, and it' s astonishing how easily welles spins a movie out of next to nothing. for many years, he was reported to have
don quixote
as a work in progress. now, according to the program notes, the working title has been changed to
when are you finishing don quixote ?
does it matter, when
f for fake
has such a sufficiency of windmills ?
the gauze comes in a wide variety of colors, so you can easily fake a colored cast .
this gem is a port of perl' s data: : faker library that generates fake data .
whether you want to play a prank on a friend or create a prop for a home movie, making a fake cast for your arm or leg is a fun way to create the illusion of a broken limb. with very few materials, you can make a fake cast at home in just minutes !
in film, while nearly all his work was highly inventive – and most of it quite dazzlingly so – citizen kane and f for fake stand out as particularly successful attempts to transform the very nature of cinema. just as kane was probably the first film in which the final scene was more or less explicitly intended to make viewers feel they should watch the film again in order to get a better grasp of its meaning, so f for fake was probably the first film to question, from start to finish, the veracity of everything it deals with .
f... in this case there is an f after the dash which stands for factory, meaning the bag was bought / sold at a coach factory outlet not from a coach store or a macy' s, nordstrom, etc. . but nonetheless they are still very much authentic .
i' ve stolen more ideas from this film than from any other ,
he admits at the beginning of his tribute to f for fake .
everything i know about editing
— and he knows a lot —
i' ve learned from this film .
halfway between showman and swindler, welles narrates this playful film essay about fakery, authenticity and authorship. looking initially at the lives of art forger elmyr de hory and hoaxer clifford irving, f for fake ultimately serves to ask several intriguing questions about the relationship of fakery to film .
fake and crucially claims that to get his very first break in the theatre, he had to pretend to be a broadway big - shot: his whole career started with a fake. the film' s most powerful moment is his meditation on the glories of chartres cathedral, an achievement that doesn' t need a dispute about authorship. f for fake is a minor work in some ways, but there is fascination and poignancy in seeing welles' s elegant retreat into this hall of mirrors .
a mixture of documentary footage shot by others (some of it featuring welles himself), archive footage, photos, and footage welles shot specifically for the film, f for fake offers as its ostensible subject a scandalous case concerning dubious authorship: clifford irving’s allegedly bogus biography of his friend elmyr de hory, himself best known as a forger reputedly responsible for many of the world’s most prestigious paintings .
much of
f for fake
' consists of footage originally shot in 1968 by francois reichenbach for a documentary about de hory. after irving' s hoax was exposed, welles bought reichenbach' s footage and re - edited it with new scenes he directed. it reportedly took a year working seven days a week to edit the film .
if citizen kane was just slightly ahead of its time in 1940, f for fake, which came out in 1973, now looks more than three decades ahead of the curve. nobody knows that better than tony zhou, creator of the popular cinema - focused video essay series every frame a painting .
purchasing reichenbach’s outtakes, welles set out to create an essay film that dealt with all of these questions, and it’s small wonder that the resulting work raises questions of its own. f for fake is every bit as much a “welles film” as citizen kane; it’s also equally, in terms of script and title, a coauthored one: just as the title of kane came from the film’s producer, george schaefer, and much of its script was by mankiewicz, the final title of f for fake was supplied by its lead actress, oja kodar – - welles’ companion and major artistic collaborator for the last quarter - century of his life – - who also wrote a story that supplied the basis for the film’s “picasso episode” .
as finnegans wake was for joyce, f for fake was for welles a playful repository of public history intertwined with private in - jokes as well as duplicitous meanings, an elaborate blend of sense and nonsense that carries us along regardless of what’s actually being said. for someone whose public and private identities became so separate that they wound up operating routinely in separate households and occasionally on separate continents, exposure and concealment sometimes figured as reverse sides of the same coin, and welles’s desire to hide inside his own text here becomes a special kind of narcissism. when welles made his never - released nine - minute f for fake trailer three years later, he even avoided having his name spoken or seen (“modesty forbids”) —except for when gary graver, his cinematographer and partial stand - in as host, prompts him with, “ten seconds more, orson. ”
orson welles’ two major documentary forays stand roughly at opposite ends of his film career: it’s all true (1942) and f for fake (1973), and together the two projects’ very titles express a dialectical relationship to the documentary. both belong to a form of documentary known as the essay film that interested welles throughout his career. notwithstanding some wellesian hyperbole, it seems safe to say that both titles accurately convey the overall essence of their respectiive projects: most of the never - completed it’s all true, as welles conceived and shot it, was true; most of f for fake is fake - – a fake documentary about fakery, with particular attention devoted to art forger elmyr de hory, to author clifford irving, and to welles himself. as welles put it in a 1983 interview, “in f for fake i said i was a charlatan and didn’t mean it... because i didn’t want to sound superior to elmyr, so i emphasized that i was a magician and called it a charlatan, which isn’t the same thing. and so i was faking even then. everything was a lie. there wasn’t anything that wasn’t. ”
there are amused rumors to the effect that mr. welles did not actually direct a large part of “f for fake. ” this part is an extended se' suence set in ibiza involving interviews with elmyr de hory, the well‐publicized art forger, and clifford irving, who wrote mr. de hory' s biography (“fake”) and later went on to make his own name by attaching it to howard hughes' s .
now comes welles' latest work, forthrightly titled
f for fake .
it' s a film about fakes and frauds, including the art forger elmyr de hory, the biography forger clifford irving, the mystery man howard hughes and even the young orson welles of the famous
war of the worlds
hoax .
the criterion collection is a distribution company that specializes in “important” classic and contemporary films. through hulu, many of these films are made available to stream. once a week, i like to illuminate a criterion movie — to deepen one’s understanding of filmmaking and film history. this week’s movie: “f for fake” (1975 )
for an ankle cast, this will be around your shin; for a wrist cast, this will be around your forearm .
* * * next will always be a dash... after the dash you will sometimes see an
f
( see below )
trickery. deceit. magic. in f for fake, a free - form sort - of documentary by orson welles, the legendary filmmaker (and self - described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies. beginning with portraits of the world - renowned art forger elmyr de hory and his equally devious biographer, clifford irving, welles embarks on a dizzying journey that simultaneously exposes and revels in fakery and fakers of all stripes—not the least of whom is welles himself. charming and inventive, f for fake is an inspired prank and a clever examination of the essential duplicity of cinema .
f for fake
is also notable, he said, as the only film for which oja kodar is known. as the co - writer of
the other side of the wind
and other unfinished and unreleased projects, she was one of welles' closest collaborators in the last 25 years of his life. she is currently working on a compilation film comprising excerpts from these projects .
all of which brings us to f for fake, the last feature film welles would ever complete, and one that is quite unlike any other film he ever made. its genesis was serendipitous, but the circumstances that saw this multilayered tale of fakery fall into welles’ lap offered him his first chance to make a real break for freedom since citizen kane. with f for fake, welles set out to make something entirely new, and while many fans of the director were ultimately disconcerted by how little this felt like “an orson welles picture”, that was all part of his design. as he told cahiers du cinema in an interview after the film’s release, he deliberately avoided any shots that might be regarded as “typically wellesian. ” for a director who still had the bitter taste of failure and rejection in his mouth, this was an opportunity for complete reinvention .
welles’ delight in getting one over on the audience with his final twist is evident, and perhaps the most valuable thing f for fake offers us almost forty years on is simply orson welles himself, a great artist and born storyteller who is in his element here. his sheer force of personality is the anchor that holds the movie in place. he guides us through a complicated web of deceit with that inimitable voice – charming, authoritative, humorous and wistful by turn – and he pops up on screen every few minutes with a glint in his eye and a smile on his face, as if to say, “are you really buying this? ” welles was happy when he made f for fake, his creative juices were flowing once more, and he felt confident that he was standing on the verge of exciting new possibilities; that the success of his experiment would open doors for him in the twilight years of his career. “i know he wanted to do a whole bunch of new essay documentaries, a new form” his friend and collaborator peter bogdanovich recalled, but the failure of this film soon killed that notion. sadly for welles, and for all of us, the bright future he envisioned for himself after f for fake turned out to be just another illusion .
apollo 15 astronauts went up to those mountains and walked on hadley delta. how could they enter a fake backdrop ?
the video release of
f for fake
makes accessible this mischievous film, which like much of welles' work has a spotty distribution history. it was completed in 1973 and premiered at the san sebastian and new york film festivals. it was released in europe before it received limited art - house play in the united states in 1977 .
there are interviews with people in the know with elmyr de hory’s work that are standard documentary scenes. however, welles cuts between the interviewer and himself — in a separate room addressing the camera — with “witty” responses to the information. one can see the roots of michael moore’s documentary style in f for fake. perhaps moore was a fan ?
for a filmmaker who studiously avoided repeating himself and sought always to remain a few steps ahead of his audience’s expectations, thereby rejecting any obvious ways of commodifying his status as an auteur, welles arguably found a way in f for fake to contextualize large portions of his career while undermining many cherished beliefs about authorship and the means by which “experts, ” “god’s own gift to the fakers, ” validate such notions .
indeed, the first time that i saw f for fake - – at a private screening in paris in 1973 – the cryptic press materials at the time identified the film as? , listed welles and reichenbach as co - directors, and assigned the script to olga palinkas (kodar’s given name). the previous year, when i had been fortunate enough to have interviewed welles while he was still editing the film, he told me that the title was hoax and that the film was “not a documentary” but “a new kind of film”. the irrelevance of labels and assigned credits to most works of art is, after all, largely what f for fake is about. - – jonathan rosenbaum
some call what we do experiential marketing or event marketing, others interactive design or new media art. we call it fake love .
when we get to a late film in welles’ career, the documentary f for fake (1976), he formulates his most explicit statement about contemporary reality, leaving little room for greatness, let alone tragedy. and if f for fake seems a superficial film, we will then have experienced the first lesson of postmodernism: playfulness, conscious illusions, and an undisguised reflexiveness about making movies. put another way, what is seen in the film that seems real is not as real as it appears — but most especially we can’t trust the filmmaker welles himself, he will lie to us and deceive us, if only to get at the heart of the movie’s main contention: you cannot trust anyone, especially anyone who asserts his or her authority without any basis or proof .
as fun as it can be to float along welles’s stream of consciousness, it’s the film’s editing that will amaze you. its rhythm is fast and unexpected, and it’s an altogether refreshing experience to watch welles work so buoyantly. (for all its apparent breeziness, the editing process was intense and extended. in an interview that appeared in dominique villain’s le montage au cinema, f for fake ’s chief editor reported that welles worked on editing the film seven days a week for a year. )
f for fake
joins on video other recently rediscovered welles rarities, including his uncompleted documentary
it' s all true
( paramount home video) ,
orson welles' ghost story
( the retitled oscar - nominated short subject
return to glennascaul ,
available on mpi home video) and
othello
( currently on moratorium) .
f for fake is the from the man who brought us one of the biggest live events in history and, arguably, the greatest technical film ever made: orson welles. (the film, of course, is citizen kane). welles starred, co - wrote and directed the film, which is his last. it was made in 1974 — released in 1975 .
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if you want to make video essays, there’s no better film to study than orson welles’ 1973 masterpiece, f for fake. there are a million lessons to take away from it, but today, let’s see what it has to teach us about structure. no spoilers. for educational purposes only. you can donate to support the channel at patreon: urltoken and follow me here: twitter: urltoken facebook: urltoken music: duke ellington, charles mingus & max roach - very special michel legrand - f for fake (cinéma) a tribe called quest - oh my god (instrumental) michel legrand - orson’s theme (after the rain version) a tribe called quest - oh my god interview clips: trey parker & matt stone at nyu: urltoken john sturges' legendary audio commentary: urltoken help us caption & translate this video! urltoken
orson welles is up to his old tricks in
f for fake ,
available for the first time tuesday on home vision cinema, an independent, chicago - based fine arts label. welles also figures prominently in a companion home vision release ,
three cases of murder ,
a lesser - known 1954 british anthology film that features welles as the title figure in
lord mountdrago ,
a segment based on a somerset maugham story about a guilt - ridden politician driven mad by conscience. both retail for $ 38. 95 .
but if welles was creating something new here, what exactly was it? f for fake is most frequently described as an “essay film”, but that term risks making it sound a lot drier and more academic than it actually is. welles sets the playful tone immediately by performing some sleight of hand on a railway station to a transfixed young boy. “i’m a charlatan, ” he cheerfully admits, before he adopts a graver manner and makes his audience a solemn promise – “during the next hour, everything you hear from us is really true and based on solid fact. ” from this statement we can surmise that f for fake will be a documentary and will present its subject to us in a straightforward and honest manner, which is exactly what welles does…up to a point .
entry submitted by steve f at 9: 16 pm edt on june 13, 2017 re: electricity / israel approves palestinian move to pressure hamas with electricity cuts .
electricity
- gcr / rv thought - june 13, 2017 israel has approved a request by palestinian authority president mahmoud abbas to cut by roughly a third the electricity it provides to the gaza strip. the move is aimed at undermining the islamic militant group hamas, which has controlled gaza for the last decade. israel and egypt have been tightly controlling access to the gaza strip for years to weaken hamas. the palestinian authority has moved to further isolate the militant group. in addition to funding for electricity, abbas has also cut salaries for civil servants. everything else posted is fake news, yosef... steve f
orson welles reinvented the cinema with “citizen kane, ” and then kept going, though the industry itself hardly helped: most of the movies he made thereafter were the work of an outsider who scrounged financing where he could—including, sometimes, his own earnings as an actor. many of his films remain unfinished. with “f for fake, ” from 1973, which i discuss in this clip, welles made a film seemingly out of the uncollected fragments of his life and his work. one of the many distinctions of “citizen kane” is its editing—welles was fanatical about it, which renders all the more poignant the numerous instances of studios recutting his films. “f for fake” is a masterwork of montage, a breathlessly frenzied collage of disparate sources that conjure the unholy tempest of a great man and a great mind at full gallop. it’s also a film that highlights the artifice of performance even as it affirms the sometimes tragic, sometimes tawdry authenticity of a life devoted to it. the movie is a love story, a crime story, a comedy, a picaresque travelogue, and a paean to art. in short, “f for fake” is as grand, multitudinous, and original as welles himself .
as much as welles’ is revered in the film and entertainment world, he comes off unlikeable in f for fake. he is the all - knowing, pedestal sitting man who has come to “tell” this story. except, he does not really tell anything at all. i feel he is trying to trick us, to help solidify his point: what is made - up and what is not? his point hits right on the nose. f for fake has you guessing what is real and made up — from hory’s world and beyond. welles does not hide that fact, which makes the film incredibly frustrating to watch. basically, welles wants us to think: yeah, i’m going to watch and enjoy your movie, even though i know you are going to lie to me .
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i do not like this movie. though, understanding what welles was trying to do and the film being his last hurrah, elevates the film to a level it does not deserve. it is incredibly experimental. f for fake will leave you empty and wanting a whole lot more. thankfully, it is only 88 minutes. sometimes you have to put up with a challenge to enjoy the beautiful things in life .
but welles being welles, for whom form and content were always closely connected, the subject is also orson himself, and his own controversial history as an artist and / or charlatan. with its wholly fresh approach to the role played by editing in the building of a narrative, and a sly, quizzical attitude that anticipates abbas kiarostami ’s claim that in order to get at the truth an artist has to tell lies, f for fake is as exhilaratingly witty, mischievous and imaginative as it is philosophically profound .
alas, welles revealed f for fake in 1974 to an unready world: audiences didn' t quite understand it, and what distributors showed interest in buying it didn' t quite offer enough money. the feature finally came out in america in 1976, and for the occasion welles put together the nine - minute
trailer ,
never actually screened in a theater, at the top of the post, a short essay film in and of itself possessed of a similar style to but consisting of no footage from the full - length f for fake. as with the picture to which it ostensibly offers a preview, welles made it in collaboration with b - movie cinematographer gary graver and his girlfriend oja kodar — the one you see posing with the tiger — hoping to tantalize with a suggestion of the dance of truth and falsity the film does around such storied figures as pablo picasso, howard hughes, and infamous art forger elmyr de hory .
10 the artifice of realism and the lure of the “real” in orson welles’s f for fake and other t (r) eas (u) er (e) s catherine l. benamou 11 forgotten silver: a new zealand television hoax and its audience craig hight and jane roscoe 12 the truth about no lies (if you can believe it) mitchell w. block 13 screen memories: fakeness in asian american media practice eve oishi
although intended to be a documentary, f for fake is considered a “film essay”. the film attempts to delve into the word of fakes and forgery — specifically art forgery. at the heart of this film is the story of elmyr de hory’s history as an art forger. sadly, as a viewer, the film deviates from that premise on multiple occasions. there is a lot of welles monologue and speedy cuts to different scenes .
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wait for the cast to dry. you can sign it with markers after this .
a category for locations, they can be real or fictional places or filming locations .
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citizen kane ,
for example, is a film so brilliantly packed full of special effects, deceptive shots, double exposures, trick lighting, background animation and back projection that perhaps only a third of the film actually records what we think we' re seeing. in
f for fake
, welles plays with the film more obviously, presiding over a ghostly editing room, running shots back and forth in the movieola as he invites us to take a closer look (pick a look, any look…) .
this image of welles as the baroque storyteller is apparent in both his fiction and non - fiction films, although even that distinction would seem a bit misleading as the director’s fiction works are filled with many emotional truths and his non - fiction works—of particular note the fragments of it’s all true, the series of documentary shorts he made for british television in the 1950s, and f for fake, a portrait of master art forger elmyr de hory—are composed, in part, of artfully elaborated and sculpted “facts. ” f for fake is one of the more wistfully humorous of welles’s wrestlings with reality. roguishly comic yet profoundly bittersweet and edited in seizures with a deliberate, manic grace, the film represents the most flamboyant of its director’s magical acts, with welles himself acting on screen as the narrator / conjuror, pulling the curtain back again and again, each time only to reveal another stage and another curtain in a series of dizzyingly self - reflexive meditations on fakery .
no f... if there is no f after the dash, you will just see 5 numbers (some of the older styles will only have 4 #' s). this set of numbers are considered the style #. meaning every coach bag with this number will look the same... maybe a different color, but always the same design and style .
halfway into the film, french director françois reichenbach, whose documentary footage on de hory and his biographer philip irving was used by welles, tells a story that coincidentally sums up the deceptive nature of f for fake. de hory had, supposedly, sold reichenbach a few fake modigliani’s, which the latter then sold for double the price. unaware of that, hory offered to reimburse the director with a check that turned out to be false. “a false check for a false painting, ” adds welles amusedly. deliberately deceiving and drawing our attention to one aspect of the narrative while planting in our minds, like a cuckoo’s egg, another, perhaps more profound one, welles builds his hall of mirrors in which concepts of fakery and originality bounce off one another as reflections .
the film: though considered something of a personal folly upon its limited release in 1973, “f for fake” seems now to be perhaps welles’s crowning achievement, his most fully realized late - career work at a time when he could hardly get one finished and released. it’s heady, dense, and unabashedly intellectual, but part of welles’s sophistication as a thinker and stylist is in how smoothly he works his ideas into the fabric of his entertainments .
it would be comforting to say my early appreciation of f for fake included an adequate understanding of just how subversive it was (and is). but leaving aside the critique of the art world and its commodification via “experts”—which is far more radical in its implications than the critique of william randolph hearst in citizen kane (1941) —it has been only in recent years, with the rewind and stop - frame capacities of video, that the sheer effrontery of many of welles’s more important tricks can be recognized, making this film more home - video - friendly than any of his others. it has also taken some time for us to realize that his methodology in putting this film together gave him a kind of freedom with his materials that he’d never had before or would again. for a filmmaker who often avowed that the art of cinema resided in editing, f for fake must have represented his most extended effort. according to dominique villain, who interviewed the film’s chief editor for her 1991 book le montage au cine? ma, the editing took welles a solid year, working seven days a week—a routine suspended only for the length of time that it took michel legrand to compose the score—and required the use of three separate editing rooms .
f for fake is not a documentary. this “new kind of film” escapes definitions by mixing fiction, duplicitous meanings, self - referentiality, historical background and elaborate visual trickery. francois truffaut believed welles made the film as a “reposte” to the controversy created by film critic pauline kael, whose claims that welles had not written a single line of citizen cane have later been proven untrue (the entirety of the script was supposedly written by his co - writer mankiewicz). welles gives a somewhat reconciliatory final note on his turbulent career as a film director – an epitaph celebrating art in its anonymity. nevertheless, welles’ off - screen and on - screen persona permeates all his work. in f for fake he exposes himself as a charlatan, a faker, but we can’t avoid feeling that the true orson welles is hiding and probably does so in a typically mischievous wellesian way, in plain sight .
i have some minor reservations about “f for fake. ” i don' t share mr. welles' s affection for either mr. de hory or mr. irving. unlike the generous mr. welles, they are small potatoes. when mr. welles asks, “doesn' t it say something about our time that cliff [ irving ] could only make it through trickery? , ” my answer is no. it says more about mr. irving, who as far as i can tell, hasn' t made it at all .
looking for any more historic pictures. seems camp obama released scarce few to begin with .
must be a popular bench there on the edge of central park, ny for commies .
don' t cover your fingers for w wrist cast. just wrap around the palm .
thanks to all authors for creating a page that has been read 104, 822 times .
if you prefer to pay for your phone in cash at the time of purchase, you can buy an iphone for $ 650. apple makes money when you buy your phone .
if you want to give your fake cast the proper thickness, you can cut two or three socks to the same size and layer them to give it the proper bulk .
he' s not saying hey i' m gonna try and fake a half dozen satellites using a swarm drones or something hovering around him and his phone... .
fake documentaries mimic documentary genre expectations, unraveling the documentary’s authority and dismantling understandings of identity, history, and nation. the interdisciplinary essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide, the ethics of reality - based manipulation, and whether documentariness derives from form or reception. defining the borderline between fact and fiction, the contributors reveal what fake documentaries imply and usually make explicit: that many documentaries lie to tell the truth, and that the truth is relative. contributors: steve anderson, catherine l. benamou, mitchell w. block, luis buñuel, marlon fuentes, craig hight, charlie keil, alisa lebow, eve oishi, robert f. reid - pharr, gregorio c. rocha, jane roscoe, catherine russell, elisabeth subrin. alexandra juhasz is professor of media studies at pitzer college. she is author of women of vision: histories in feminist film and video (minnesota, 2001). jesse lerner is associate professor of media studies at pitzer college .
berlin film journal is a platform for dynamic film journalism, founded by the berlin film society .
for a leg or ankle “cast, ” consider adding a pair of crutches to the costume. you can usually find old crutches at a yard sale or secondhand store for a reasonable price .
no, that photo on the left doesn' t depict an unguarded moment of affection between president john f. kennedy and actress marilyn monroe. it' s the work of artist alison jackson, who' s known for her photos using lookalikes of famous people. and it' s a damn good lookalike .
p erhaps the most startling thing about orson welles’s f for fake is its youthful energy. by the time it premiered in 1972, welles was 57 years old, and he knew intimately what it felt like to work on a film and never see its release. even the ones that he finished could take forever: he worked on othello for nearly four years, and he occasionally had to replace its actors in the middle of shooting. and some favorite projects – like don quixote and his last work, the other side of the wind – never made it onto the big screen at all .
mr. welles, the master of ceremonies, the credited director and writer as well as star of “f for fake, ” welcomes us with some sleight of hand, turning a small boy' s key into a coin and back again. “the key, ” says the charlatan, “is not symbolic of anything. ” the warnings keep coming and you may he reminded of the late old gold slogan: “it' s fun to be fooled, but more fun to know. ” perhaps sometimes .
it comes in very handy for taking screenshots (taking screenshots for my project, catch the best was the original impetus for the creation of this gem), having real - looking test data, and having your database populated with more than one or two records while you' re doing development .
defining the borderline between fact and fiction, the contributors reveal what fake documentaries imply and usually make explicit: that many documentaries lie to tell the truth, and that the truth is relative .
for an ankle cast, the mark should be approximately where your foot ends and your toes begin .
f for fake, directed and written by orson welles; directors of photography, christian odasso and gary graver; production coordinator, francois reicheuinch, editors, marie‐soohie dubus and domini' sue engerer; music, michel legrand; a s. a. c. i. production by janus film (frankfurt) and les films de l' astrophore (paris). running time: 90 minutes. at the new york film festival, alice tully hall, broadway at 65th street. this film has not been rated .
of the orson welles films i have seen, this has to be the most fun to watch .
f for fake
is about an art forgerer and his biographer who was a forgerer himself. (he faked a biography about howard hughes .) what' s great about the film is that welles constantly keeps you guessing at what' s real and what' s fake and why at all that might be important. i also give welles credit for pulling the greatest plot twist i have ever not seen coming. and this is a documentary! there' s not supposed to be a plot, is there? (wink, wink) giving the surprise away would ruin all of the fun. what i can say is that you should find this somewhat rare film and watch it with a clock close by .
orson welles' s final completed movie deals with fakery, and in particular with two of the most notorious forgers of the twentieth century .
f is for fakes
( also called
f for fake
) is not really a movie or documentary as much as a look at how we interpret art, and what we want to interpret about anything that is essentially fake. welles proudly calls himself a charlatan while performing magic tricks and coming up with all sorts of ways to play with the audience. i personally had never heard of elmyr de hory until watching this, but welles turns him into a very interesting person. all in all, the director known as a boy genius had a fine end to his career. welles created a truly mind - bending look at the concept of art. the fact that the movie came out around the time that clifford irving' s scandal broke (he wrote a forged biography of howard hughes) certainly adds to the documentary' s quality. can there truly be any more definite reality left in the world?
f for fake ( french : vérités et mensonges , " truths and lies " ) is the last major film completed by orson welles , who directed , co-wrote , and starred in the film . initially released in 1974 , it focuses on elmyr de hory 's recounting of his career as a professional art forger ; de hory 's story serves as the backdrop for a fast-paced , meandering investigation of the natures of authorship and authenticity , as well as the basis of the value of art . loosely a documentary , the film operates in several different genres and has been described as a kind of film essay . far from serving as a traditional documentary on elmyr de hory , the film also incorporates welles 's companion oja kodar , notorious " hoax-biographer " clifford irving , and orson welles as himself . in addition to the 88-minute film , in 1976 welles also shot and edited a self-contained 9-minute short film as a " trailer " , almost entirely composed of original material not found in the main film itself . 
f for fake (french: vérités et mensonges, " truths and lies ") is the last major film completed by orson welles, who directed, co-wrote, and starred in the film. initially released in 1974, it focuses on elmyr de hory's recounting of his career as a professional art forger; de hory's story serves as the backdrop for a fast-paced, meandering investigation of the natures of authorship and authenticity, as well as the basis of the value of art. loosely a documentary, the film operates in several different genres and has been described as a kind of film essay. far from serving as a traditional documentary on elmyr de hory, the film also incorporates welles's companion oja kodar, notorious " hoax-biographer " clifford irving, and orson welles as himself. in addition to the 88-minute film, in 1976 welles also shot and edited a self-contained 9-minute short film as a " trailer ", almost entirely composed of original material not found in the main film itself.
f for fake (french: vérités et mensonges, " truths and lies ") is the last major film completed by orson welles, who directed, co-wrote, and starred in the film. initially released in 1974, it focuses on elmyr de hory's recounting of his career as a professional art forger; de hory's story serves as the backdrop for a fast-paced, meandering investigation of the natures of authorship and authenticity, as well as the basis of the value of art. loosely a documentary, the film operates in several different genres and has been described as a kind of film essay. far from serving as a traditional documentary on elmyr de hory, the film also incorporates welles's companion oja kodar, notorious " hoax-biographer " clifford irving, and orson welles as himself. in addition to the 88-minute film, in 1976 welles also shot and edited a self-contained 9-minute short film as a " trailer ", almost entirely composed of original material not found in the main film itself.