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Against Gatekeepers: Orson Welles’ F for Fake in an Era of Generative Artificial Intelligence
|Dan McCabe| “Maybe a man’s name doesn’t matter all that much,” Orson Welles says towards the end of F for Fake (1973) as he gazes upon Chartres Cathedral, which he describes as a great, unsigned masterpiece. F for Fake asks questions about the importance (or lack thereof)… Continue reading