22 Drawing on the optical unconscious, which Benjamin elaborates in "The Work of Art"
essay, Gunning even argues for "turning the methods of psychoanalysis inside out, so that
we see Freud less as a psychologized Sherlock Holmes rifling through the archives of
personal memory for clues to a primal crime than as a ruthless surveyor of the modern
barriers between self and society" (127).

23 According to Bernard Dick, here is how the complicated financial transactions worked
for those who were forced to become nonpersons in the industry. Dalton Trumbo "opened
one checking account under the name of James Bonham (his protagonist from Johnny
Got His Gun), then endorsed his checks twice-as James Bonham and as the payee (John
Abbott, Sam Jackson or another pseudonym). When a check had cleared, James Bonham
would write out a check to Dalton Trumbo for deposit in an account under the name of
Dalton Trumbo in another bank" (Radical Innocence 228).

24 The Director's Guild of America requires that the director's name be listed as the last
one in the title sequence as a way of signaling authorial control over the film. The DGA
came into existence in 1960, after taking over from its predecessor, The Screen Directors
Guild, which was founded in 1936.

25 Ironically, Bazin famously argued for seeing this style of filmmaking as explicitly
more realistic as well as a genuine evolution in the language of cinema. Ironically, what
Bazin praises in this signature Wellesian moment is precisely the auteur's ability to get
out of the way. "More realistic and at the same time more intellectual," he suggests, "for
in a way it forces the spectator to participate in the meaning of the film by distinguishing
the implicit relations, which the decoupage no longer displays on the screen like the
pieces of a dismantled engine" (Orson Welles 80). That is to say, having defended the
camera's automatism, Bazin praises Welles's style for being less stylized and more
realistic, allowing the viewer to democratically pick the details he or she would like to
emphasize. This style, Bazin argues elsewhere, approximates human vision. Of course,
Naremore has rightly discredited this portion of Bazin's argument related to deep focus,
suggesting that "human vision is exactly the opposite of depth photography, because
humans are incapable of keeping both the extreme foreground and the extreme distance
in focus at the same time" (Magic World 37). In any case, there is no dispute about how
much this style, where realistic or not, defines the Wellesian signature.

26 While this essay is originally from The Classical Hollywood Cinema, my citations here
are from the reprint in Janet Staiger's The Studio System.

27 Bordwell argues that the reason deep focus cinematography becomes standardized has
a lot to do with the paradoxical role of the American Society of Cinematographers (ASC)
in the studio system. As a technical agency, the ASC reflected the tension between
standardization and innovation, and this tension directly influenced the development of
cinematography. As Bordwell puts it, "On the one hand, the ASC asked the
cinematographer to be a craftsman, cleanly obeying the rules. At the same time, he was
expected to originate techniques" (99-100). In Citizen Kane, cinematographer Gregg
Toland, encouraged by Welles, is clearly invested in the latter role. How does Hollywood