john ford: a short bibliography of materials in the uc berkeley libraries

john ford: a short bibliography of materials in the uc berkeley libraries john ford: a bibliography of materials in the uc berkeley library books journal articles articles and books on individual films [click on a film] battle of midway cheyenne autumn december 7 drums along the mohawk fort apache the grapes of wrath how green was my valley the informer the man who shot liberty valance my darling clementine the quiet man rio grande the searchers sergeant rutledge she wore a yellow ribbon stagecoach young mr. lincoln movies by director videography for works of ford in mrc books anderson, donald k. john ford, by donald k. anderson, jr. new york, twayne publishers [1972]. series title: twayne's english authors series, teas 129.--mainucb moffitt pr2527 .a5 --main nrlf $b 243 623 anderson, lindsay about john ford / lindsay anderson. london: plexus, c1981.--ucb moffitt pn1998.a3 f565 1981--mainucb main pn1998.a3 f565 baxter, john the cinema of john ford. london, a. zwemmer; new york, a. s. barnes [1971]. series title: the international film guide series.--ucb main pn1998.a3 f568 b3 bhattacharyya, jibesh the dramatic art of john ford/ jibesh bhattacharyya; with foreword by visvanath chatterjee. 1st ed. calcutta: maya prakashan, 1984. --ucb main pr2527 .b461 1984 bogdanovich, peter john ford. london, studio vista, 1967. series title: movie paperbacks.--ucb main pn1998.a3.f568 .b6 1967 bogdanovich, peter john ford. [1st american ed. berkeley] university of california press [1968]. series title: movie editions.--ucb main pn1998.a3 f568 b6; pn1998.a3 f568 1978--ucb main pn1998.a3 f568 1978 carey, harry company of heroes: my life as an actor in the john ford stock company / harry carey, jr. metuchen, n.j.: scarecrow press, 1994. series title: filmmakers series; no. 42.--ucb main pn1998.3.c367 a3 1994 cowie, peter.john ford and the american west / peter cowie. new york : h.n. abrams, 2004. --table of contents http://www.loc.gov/catdir/toc/ecip0418/2004013253.html--main stack pn1998.3.f65.c68 2004 darby, william john ford's westerns: a thematic analysis, with a filmography--ucb bancroft pn1998.3.f65 d37 1996--ucb main pn1998.3.f65 d37 1996 davis, ronald l. john ford: hollywood's old master / by ronald l. davis. norman: university of oklahoma, c1995. series title: the oklahoma western biographies: v. 10.-- nrlf w 129 821 request item at ucb bancroft library. dayan, daniel western graffiti: jeux d'images et programmation du spectateur dans la chevauchee fantastique de john ford / daniel dayan. paris: clancier-guenaud, c1983. series title: bibliotheque des signes.--ucb main pn1997.s65733 d31 1983 eyman, scott print the legend: the life and times of john ford / scott eyman. new york: simon & schuster, c1999. -- main stack pn1998.3.f65 e96 1999 ford, dan pappy: the life of john ford. / dan ford. englewood cliffs, n.j.: prentice hall, c1979.--ucb main pn1998.a3 .f566 gallagher, tag john ford: the man and his films / tag gallagher. berkeley: university of california press, c1986.--ucb main pn1998.a3 f5698 1986--ucb moffitt pn1998.a3 f5698 1986 giles, paul."the cinema of catholicism: john ford and robert altman." in: unspeakable images: ethnicity and the american cinema / edited by lester d. friedman. pp: 140-66. urbana: university of illinois press, c1991. --main stack pn1995.9.m56.u57 1991 --mainmoffitt pn1995.9.m56.u57 1991 --mainnative amer pn1995.9.m56.u57 1991 girgus, sam b. hollywood renaissance: the cinema of democracy in the era of ford, capra, and kazan / sam b. girgus. cambridge, uk; new york: cambridge university press, 1998. --main stack pn1993.5.u6.g497 1998 hall, sheldon. "how the west was won: history, spectacle and the american mountains." in: the book of westerns / edited by ian cameron and douglas pye. pp: 255-61.. new york: continuum, 1996. --main stack pn1995.9.w4.b66 1996 --moffitt pn1995.9.w4.b66 1996 haudiquet, philippe john ford, presentation par philippe haudiquet propos de john ford ... filmographie, bibliographie ... paris, seghers, 1966. series title: cinema d'aujourd'hui, 46.--ucb main pn1993 .c4 v.46 john ford made westerns: filming the legend in the sound era edited by gaylyn studlar and matthew bernstein bloomington: indiana university press, c2001. "shall we gather at the river?": the late films of john ford / robin wood -- sacred duties, poetic passions: john ford and the issue of femininity in the western / gaylyn studlar -- the margin as center: the multicultural dynamics of john ford's westerns / charles ramirez berg -- linear patterns and ethnic encounters in the ford western / joan dagle -- how the west wasn't won: the repression of capitalism in john ford's westerns / peter lehman -- painting the legend: frederic remington and the western / edward buscombe -- "the sound of many voices": music in john ford's westerns / kathryn kalinak -- john ford and james fenimore cooper: two rode together / barry keith grant -- from aesthete to pappy: the evolution of john ford's public reputation / charles j. maland -- "john ford: fighting irish," new theater, april 1936 / emanuel eisenberg -- "hollywood's favorite rebel," saturday evening post, july 23, 1949 / frank s. nugent -- "john wayne: my pal," hollywood, no. 287 (march 17, 1951) / john ford, translated from the italian by gloria monti -- "the old wrangler rides again," cosmopolitan, march 1964 / bill libby -- "about john ford," action 8.8 (nov.-dec. 1973). --main ucb main pn1998.3.f65 j65 2001 levy, bill john ford: a bio-bibliography / bill levy. westport, conn.: greenwood press, 1998. bio-bibliographies in the performing arts; no. 78--main stack pn1998.3.f65.l48 1998 lourdeaux, lee. italian and irish filmmakers in america: ford, capra, coppola, and scorsese / lee lourdeaux. philadelphia: temple university press, 1990.--ucb main pn1995.9.c35 l68 1990--mainucb moffitt pn1995.9.c35 l68 1990 maland, charles j. american visions, the films of chaplin, ford, capra, and welles, 1936-1941 / charles j. maland. new york: arno press, 1977. series title: dissertations on film series. series title: the arno press cinema program.--ucb main pn1993.5.u6 m229 1977 maltby, richard."a better sense of history: john ford and the indians." in: the book of westerns / edited by ian cameron and douglas pye. pp: 34-49. new york: continuum, 1996.--main stack pn1995.9.w4.b66 1996--moffitt pn1995.9.w4.b66 1996--bancroft pn1995.9.w4.b66 1996 mcbride, joseph john ford / joseph mcbride and michael wilmington. london: secker & warburg, 1974. series title: cinema two.--ucb main pn1998.a3 f591 1974 mcbride, joseph searching for john ford: a life / joseph mcbride. new york: st. martin's press, c2001.-- main stack pn1998.3.f65.m38 1999 mitry, jean john ford. paris, editions universitaires [1954]. series title: classiques du cinema, 1-2.--ucb main pn1993 .c5 v.1-2 v.1-2 (1954) nolly, ken. "the representation of conquest" john ford and the hollywood indian." in: hollywood's indian: the portrayal of the native american in film / peter c. rollins and john e. o'connor, editors. pp: 73-90. lexington: university press of kentucky, c1998. --main stack pn1995.9.i48.h66 1998 --mainmoffitt pn1995.9.i48.h66 1998 --mainnative amer pn1995.9.i48.h66 1998 housed at ethnic studies place, janey ann the non-western films of john ford / by j. a. place. 1st ed. secaucus, n.j.: citadel press, c1979.--mainucb main pn1998.a3 .f615 place, janey ann the western films of john ford / by j. a. place. 1st ed. secaucus, n.j.: citadel press, [1974].--ucb moffitt pn1998.a3 f62 sarris, andrew the john ford movie mystery / andrew sarris. bloomington: indiana university press, c1975. series title: cinema one; 27.--ucb moffitt pn1998.a3f625 sarris, andrew. the john ford movie mystery / andrew sarris. london: secker and warburg [for] the british film institute, 1976. series title: cinema one; 27. --ucb main pn1993 .c45 v.27 sinclair, andrew john ford / andrew sinclair. new york: dial press/j. wade, c1979.--ucb main pn1998 .a3f6255 spittles, brian. john ford harlow ; new york : longman, 2002. --main: pn1998.3.f65 s68 2002 stowell, peter john ford peter stowell. boston: twayne publishers, 1986. series title: twayne's filmmakers series. --main: pn1998.a3 f62561 1986 --moff: pn1998.a3 .f6256 1986 --native american studies : pn1998.a3 .f6256 1986; housed at ethnic studies library. thomas, deborah."john wayne's body." in: the book of westerns / edited by ian cameron and douglas pye. pp: 75-87. new york: continuum, 1996.--main stack pn1995.9.w4.b66 1996--mainmoffitt pn1995.9.w4.b66 1996--mainbancroft pn1995.9.w4.b66 1996 videorecording the western / co-production of the new york center for visual history, kcet/los angeles, and the bbc. south burlington, vt: annenberg/cpb collection, 1994. 1 videocassette (55 min.): sd., col. and b&w; 1/2 in. vhs. series title: american cinema; 4.--ucb media ctr video/c 3712 journal articles aleiss, angela."a race divided: the indian westerns of john ford." american indian culture and research journal v18, n3 (summer, 1994):167 (20 pages). "examines the accusation that film director john ford's westerns portrayed indians as either savages or romantic nobles. between the iron horse (1924) and cheyenne autumn (1964), ford directed 12 movies that had indian themes. an analysis of the films reveals that they stressed the need for indian cultural and political autonomy, as well as the impossibility of their joining the dominant white culture because neither whites nor native americans wanted assimilation. ford portrayed indians stereotypically in his movies, but the idea of resisting assimilation into white society symbolizes contemporary indian efforts to maintain autonomy." [america history and life] beaver, jim "john wayne." (with filmography) films in review v 28 may 1977. p. 265-84 bernstein, matthew. "hollywood's 'arty cinema': john ford's the long voyage home." wide angle, vol. 10 no. 1. 1988. pp: 30-45. blake, richard a., sj. "going home: the films of john ford." thought, vol. 66 no. 261. 1991 june. pp: 179-95."traces the theme of homecoming in the screen adaptations of film director john ford (1895-1973). analysis of the informer (1935), the long voyage home (1940), and the grapes of wrath (1940) shows that the films diverge in a consistent pattern from the literary works from which they were derived. ford's western films, especially stagecoach (1939), my darling clementine (1946), the searchers (1956), and the man who shot liberty valence (1962), and his non-western works such as the quiet man (1952) and the wings of eagles (1957), can be interpreted as explorations of the quest for a home." [america history and life] brauer, ralph."the fractured eye: myth and history in the westerns of john ford and sam peckinpah." film and history 1977 7(4): 73-84. examines the films (1946-73) of john ford and sam peckinpah in terms of their use of western mythos, evolution of consciousness, and historical myth. carreras-kuntz, maría elena de las "the catholic vision in hollywood: ford, capra, borzage and hitchcock." film history 2002 14(2): 121-135."analyzes the influence of the catholic faith on the films of directors john ford, frank capra, frank borzage, and alfred hitchcock. the themes of communion, mediation, and sacramentality recur in their films, as do moral epiphanies, original sin, redemption, and gospel parables." [america history and life] brinkley, douglas. "the color of war." (rare color film footage of the invasion of normandy) new yorker v74, n20 (july 20, 1998):34 (3 pages). noted film director john ford led a camera unit for us forces when they landed on normandy beach, june 6, 1944. melvyn r. paisley decided to search for the film of operation overlord. he found it in college park, md and turned it into a documentary. it is rare color film of world war ii battles. combs, r"at play in the fields of john ford" (the case of 7 women as ford's last western) sight and sound v 51 no2 spring 1982. p. 124-9 corkin, stanley. "cowboys and free markets: post-world war ii westerns and u.s. hegemony." cinema journal, 2000 spring, 39:3, 66-91. "the ideological significance of the post-world war ii western films my darling clementine, directed by john ford, and red river, by howard hawks, is discussed. recounting the triumph of quintessentially "american" heroes over various agents of chaos, these films generally emphasize the need for settlement and nationalism. both films ask audiences to admire and relate to their heroic figures and the terms of american life they embody: physical courage, moral certainty, and the individual's power to alter circumstances according to a morally justified vision of the future. the writer argues that the western was well suited to convey significant ideological rationales for postwar american foreign policy, including the inevitability of american expansion." [artabstracts] courtney, susan."looking for (race and gender) trouble in monument valley." qui parle: literature, philosophy, visual arts, history, vol. 6 no. 2. 1993 spring-summer. pp: 97-130. davis, ronald l. "paradise among the monuments: john ford's vision of the american west." montana 1995 45(3): 48-63. "reviews the life of movie director john ford (1895-1973), especially his vision of the american west. he directed 54 westerns over his career, including stagecoach (1939), fort apache (1947), she wore a yellow ribbon (1949), and the searchers (1956). the film my darling clementine (1946) was loosely based on the gunfight at the o.k. corral in tombstone, arizona, and wyatt earp, who in his later years had known ford. considered a cinematic "old master" and pioneer, ford created the western genre as it is known in the 1990's." [america history and life] demetrakopoulos, stephanie. "john ford's irish drinking ethos and its influence on stereotypes of american male drunks." midwest quarterly v32, n2 (wntr, 1991):224 (11 pages). dempsey, michael "john ford: a reassessment." film quarterly v 28 no4 summer 1975. p. 2-15 doherty, thomas. "gunning for john ford at the auteur corral." chronicle of higher education v46, n40 (june 9, 2000):b9. douchet, jean"le retour de john ford." cahiers du cinema no424 oct 1989. p. 33-5 drabelle, dennis "deep into a vale of inspiration." preservation v 51 no3 may/june 1999. p. 90-5 "monument valley, located on the navajo reservation in northeast arizona and southeast utah, stirred the imagination of two geniuses of american popular culture: movie director john ford and cartoonist george herriman. ford shot seven westerns in the valley, which provided him with a vast, timeless background embodying the great sculpting forces of destiny. herriman stocked his comic strip krazy kat with recognizable fixtures from monument valley, its grotesquely eroded monoliths and uncommon palette of colors seeming ideally suited for the strip's surreal, free-spirited world." [artabstracts] ellis, kirk. "on the warpath: john ford and the indians." journal of popular film and television, vol. 8 no. 2. 1980. pp: 34-41. on the surface, director john ford's western films appear to associate indians with evil, but a deeper assessment proves that ford portrays indians in a good light; cites many of his films from 1924 to 1964. everson, william k. "in search of john ford." american film v 4 may 1979. p. 70-3 "eyewitnesses to war: a documentary focuses on the bravery of the servicemen who shot film instead of bullets." (the arts/show business)(brief article) time v155, n24 (june 12, 2000):80. "ford and kennedy on the western." films in review v 20 jan 1969. p. 29-33 franklin, richard "john ford." senses of cinema (great directors: a critical database) gallagher, tag. "john ford's indians." (native americans in john ford's western films) film comment v29, n5 (sept-oct, 1993):68 (4 pages). "in the films of john ford, indians are presented as mythic figures rather than as characters based on scholarly knowledge. in a film such as the searchers, indians are depicted as icons of savage beauty, even projections of white fantasy. his treatment of indians is confessional rather than racist because he was conscious of the fact that his films were myths based on myths." [artabstracts] heffernan, jeanne. ""poised between savagery and civilization": forging political communities in ford's westerns." perspectives on political science v28, n3 (summer, 1999):147. ingrassia, catherine. "i'm not kicking, i'm talking": discursive economies in the western." (special issue: the western) film criticism v20, n3 (spring, 1996):4 (11 pages). the apparent dominance of actions over words in western films does not appear to diminish the need for western legends and heros to be validated by a film's textual constructions. in john ford's "the man who shot liberty valence" and clint eastwood's "unforgiven", the tension between actions and words in western films is explored. the films align themselves with the western film tradition even as they attempt to use text to move beyond it. "jean ford v john renoir." (100 years of film-making) economist v332, n7880 (sept 10, 1994):105 (2 pages). kinder, marsha. "the subversive potential of the pseudo-iterative." film quarterly, vol. 43 no. 2. 1989-1990 winter. pp: 3-16. lassally, walter. "ford fever." (the recollections of a john ford fan) sight and sound v2, n7 (nov, 1992):8 (1 page). cinematographer walter lassally pays tribute to director john ford, and recalls his own early obsession with ford's films. before movies were available on video lassally and friends borrowed prints of ford movies and transferred pre-selected sections of the soundtrack onto tape. the tapes were then transferred onto discs, some of which lassally still owns. during the filming of 'the ballad of the sad cafe' lassally created some images that recalled ford's work. magny, joel "ford et walsh, deux cavaliers solitaires." cahiers du cinema no531 jan 1999. p. 8-9 "the writer discusses the films of john ford and raoul walsh in relation to each other. although the work of ford, to whom french television channel cinetoile is devoting a series of 12 films in january 1999, seems now almost totally under the spotlight, walsh's work, which can only be placed under the very general umbrella of adventure films, has still largely escaped critical discourse. the writer compares and contrasts a range of films by the two filmmakers in terms of their aesthetics and their approach to their subject." [artabstracts] mcbride, joseph "drums along the mekong: i love america, i am apolitical." sight and sound v 41 no4 autumn 1972. p. 213-16 mcbride, joseph; wilmington, michael "prisoner of the desert." sight and sound v 40 no4 autumn 1971. p. 210-14 mcgillis, roderick. "westering of the spirit: wordsworth out west." journal of popular culture, vol. 18 no. 2. 1984 fall. pp: 85-95. morgan, jack "the irish in john ford's seventh cavalry trilogy - victor mclaglen's stooge-irish character." melus v22, n2 (summer, 1997):33 (12 pages). movshovitz, howard. "the still point: women in the westerns of john ford." frontiers 1984 7(3): 68-72.in stagecoach (1939) and the searchers (1956), director john ford presents women as living in a world fundamentally different from that of men; the outward manifestation of the difference is the stillness (not necessarily passivity) of the women and the contrasting activity of the men. mukherjee, tutun. "women in the patriarchal unconscious: western films of john ford and howard hawks." indian journal of american studies [india] 1996 26(1): 99-107.the various marginalizing stereotypes of women in hollywood's "western" movies are a result of patriarchal male domination of that genre. the author focuses on the films of john ford and howard hawks during the 1930's-70's. nogueira, rui "fonda on ford." sight and sound v 42 no2 spring 1973. p. 85-6 nolley, ken. "john ford and the hollywood indian." film & history 1993 23(1-4): 44-56.director john ford's western films of 1939-64 display increasing sensitivity in their portrayal of american indians while retaining certain hollywood stereotypes. nolley, ken. "printing the legend in the age of mx: reconsidering ford's military trilogy." literature/ film quarterly, vol. 14 no. 2. 1986. pp: 82-88. parrish, robert. "directors at war: john ford." american film v. 10 (july/aug. '85) p. 22+. parrish, robert. "fact meets fiction in a world war ii celluloid face-off." smithsonian 1986 16(12): 164-168. discusses the work of noted filmmaker john ford as a propagandist for the us office of strategic services during world war ii, as told by ford's assistant, robert parrish, who himself has become a successful film editor. peek, wendy chapman "the romance of competence: rethinking masculinity in the western." journal of popular film and television wntr 2003 v30 i4 p206(13) uc users only "discussions of masculinity in the western regularly characterize it as in a state of crisis, pointing to heroes hamstrung between ideologically opposed models of manhood, one endorsing commitment to community and family, the other advocating freedom from them. yet, the metaphor of crisis, with its suggestion of irresolution and immobility, fails to account for the competence of heroes who display behavior from both models. such heroes realize their goals precisely because they combine behaviors from both models as their strategies for success. the heroes of postwar westerns thus redefine masculinity as they transgress the limitations of the two models to create a new ideal of masculinity that incorporates all manner of behaviors, provided that they lead to male success." [expanded academic index] roth, lane."folk song lyrics as communication in john ford's films." southern speech communication journal 1981 46(4): 390-396. "discusses hollywood film director john ford's use of folk songs, focusing on judge priest, the grapes of wrath, the long voyage home, tobacco road, how green was my valley, rio grande, the searchers, and the last hurrah, released between 1934-58, and how folk songs in these movies helped develop characters, communicated ideas about "the affirmation of community and nature," and provided a means for audience identification and interaction." [america history and life] sinclair, a. "ford's war." sight and sound v 48 no2 spring 1979. p. 98-104 skerry, philip j. "the western film: a sense of an ending." new orleans review, vol. 17 no. 3. 1990 fall. pp: 13-17. stowell, h. peter "john ford's literary sources: from realism to romance." literature/film quarterly 5:2 (1977:spring) 164 tavernier, bertrand. "notes of a press attache: john ford in paris, 1966." (film director; includes related comments by the interviewer) (interview) film comment v30, n4 (july-august, 1994):66 (9 pages). "an article excerpted from amis americains. everything about film director john ford commands respect. although his personality has a conquering, irresistible warmth, this warmth is often hidden behind aggressiveness and a quick, unpredictable humor, which he employs with diabolical deftness. ford has never tried to please audiences by following the fashion or stacking the deck. ford's views of his own work are discussed, and excerpts from a series of interviews with him in 1966 are provided." [artabstracts] telotte, j. p. "the human landscape of john ford's south." the southern quarterly, vol. 19 no. 3-4. 1981 spring-summer. pp: 117-133."john ford is known for his western films. however, he did make a number of southern films. the author reviews ford's southern films, especially judge priest and steamboat 'round the bend to determine ford's depiction of the south. ford shows the strength of the individual southern man and his human nature. ford is sympathetic to the southern man who can stand up and cling to his ideals when the world around him is changing.' [america history and life] thoene, bodie and stuck, rona. "navajo nation meets hollywood." american west 1983 20(5): 38-44. from stagecoach in 1939 to cheyenne autumn in 1965, john ford produced his classic westerns in monument valley, utah. whether the script called for apache, comanche, or cheyenne, the faces were the local navajo indians, and the language and the centuries old songs and chants used in the movies were always navajo. vanoye, francis "façonner son image, raconter son histoire. le narcissique et l'autobiographique." positif nr.478 (dec 2000); p.58-61 "discusses the narcicism and autobiography inherent in filmmaking using examples from the work of clint eastwood, philippe garrel and john ford." [fiaf index to film periodicals] yawn, mike; beatty, bob. "john ford's vision of the closing west: from optimism to cynicism." film & history (26:1/4) 1996, 6-19.as two cinematic depictions of the american frontier, my darling clementine (1946) and the man who shot liberty valance (1962) reflect director john ford's transition from optimism to pessimism about the country's civilizing mission. books and articles on individual films cheyenne autumn "cheyenne autumn." (review)america v. 112 (january 16 1965) p. 85 "cheyenne autumn." (review) life v. 57 (november 27 1964) p. 19 "cheyenne autumn." (review) the new republic v. 152 (january 23 1965) p. 36-7 "cheyenne autumn." (review) the new yorker v. 40 (january 2 1965) p. 65 "cheyenne autumn." (review) newsweek v. 65 (january 11 1965) p. 79 "cheyenne autumn." (review) saturday review v. 48 (january 16 1965) p. 36 "cheyenne autumn." (review) time v. 85 (january 8 1965) p. 54 cook, page. "the soundtrack" films in review xxxv/3, mar 84; p.184-186. illus. discusses the tracks of two recently issued cassettes, "lili" and "cheyenne autumn". december 7/battle of midway baxter, john "december 7th." (a documentary on pearl harbour) sight and sound v 42 no1 winter 1972/1973. p. 24-5 garrett, greg "it's everybody's war: racism and the world war two documentary." journal of popular film and television v 22 summer 1994. p. 70-8 "the writer examines racism in world war ii documentaries. by studying the treatment accorded people of color in wartime documentaries, he asserts, we may establish the true states of democracy, racism, and tolerance in america during the struggle against a foreign tyranny. he finds that only three of the best-known wartime documentary films include racial diversity: frank capra's war comes to america, john ford and gregg toland's december 7, and john huston's let there be light. he argues that in comparison with the nonexistent native americans and the reviled japanese americans, on those rare occasions when black americans do appear in wartime documentaries, they seize center stage. he suggests that unlike their typical depictions in popular culture, the blacks in these films are intelligent, competent, and brave." [artabstracts] murphy, william t. "the united states government and the use of motion pictures during world war ii." in: the japan/america film wars: world war ii propaganda and its cultural contexts / edited by abe mark nornes and fukushima yukio. pp: 59-67. chur, switzerland; langhorne, pa., usa: harwood academic publishers, c1994. series title: studies in film and video v. 1. --ucb main d743.23 .j36 1994 murphy, william t."john ford and the wartime documentary." film and history 1976 6(1): 1-8. john ford, hollywood filmmaker, collaborated with the federal government ca. 1941-42 in making two world war ii documentary films, battle of midway and december 7, which turned out to be cinematic flops because they were strictly propaganda. parrish, robert. "directors at war: john ford." american film v. 10 (july/aug. '85) p. 22+. parrish, robert. "fact meets fiction in a world war ii celluloid face-off." smithsonian 1986 16(12): 164-168. discusses the work of noted filmmaker john ford as a propagandist for the us office of strategic services during world war ii, as told by ford's assistant, robert parrish, who himself has become a successful film editor. sinclair, a. "ford's war." sight and sound v 48 no2 spring 1979. p. 98-104 white, geoffrey m., and jane yi. "december 7th: race and nation in wartime documentary." in: classic hollywood, classic whiteness / daniel bernardi, editor. pp: 301-38. minneapolis : university of minnesota press, c2001. --ucb main pn1995.9.m56 c59 2001 drums along the mohawk countryman, edward. "john ford's drums along the mohawk: the making of an american myth." radical history review 1980 (24): 92-112. john ford's film drums along the mohawk (1939), based on the 1936 novel by walter d. edmonds, mythologized the experiences of gil and lana martin, a young couple living on the new york frontier during the american revolution who withstood two indian raids. "drums along the mohawk." (review)the new republic v. 101 (november 22 1939) p. 142 "drums along the mohawk." (review) time v. 34 (november 20 1939) p. 80 wood, robin. "drums along the mohawk." in: the book of westerns / edited by ian cameron and douglas pye. pp: 174-80. new york: continuum, 1996. --main stack pn1995.9.w4.b66 1996 --moffitt pn1995.9.w4.b66 1996 --bancroft pn1995.9.w4.b66 1996 fort apache dunne, michael. "cold war ideology in john ford's fort apache." popular culture review, vol. 8 no. 1. 1997 feb. pp: 83-95. morgan, jack. "the irish in john ford's seventh cavalry trilogy-victor mclaglen's stooge-irish caricature." melus: the journal of the society for the study of the multi-ethnic literature of the united states, vol. 22 no. 2. 1997 summer. pp: 33-44. neale, steve."'the story of custer in everything but name?': colonel thursday and fort apache." journal of film and video, xlvii/1-3, spring-fall 95; p.26-32. calls into question the common view that the colonel thursday character in "fort apache" is based on general custer. nolley, ken. "printing the legend in the age of mx: reconsidering ford's military trilogy." literature/ film quarterly, vol. 14 no. 2. 1986. pp: 82-88. poague, leland. "'all i can see is the flags': fort apache and the visibility of history." cinema journal,(usa), xxvii/2, winter 88; p.8-26. critical study emphasizes a rereading of the film's ending. pye, douglas. "genre and history: fort apache and the man who shot liberty valance." in: the book of westerns / edited by ian cameron and douglas pye. pp: 111-22. new york: continuum, 1996. --main stack pn1995.9.w4.b66 1996 --moffitt pn1995.9.w4.b66 1996 turner, george "dust and danger at fort apache." american cinematographer v. 77 (june '96) p. 106-10."the making of john ford's 1948 western fort apache is discussed. with an expensive cast that included john wayne, henry fonda, and former child star shirley temple, the movie was one of the few pictures of its time to take a sympathetic view of the plight of the apache in post-civil war america. it also remains a landmark of pictorial imagery due to the efforts of veteran cinematographer archie j. stout. stout lent the picture a distinctive visual style, shooting the exteriors on black-and-white infrared film. the most impressive aspect of the movie, which was a big audience favorite on its release, was not the story itself but the depiction of life at fort apache, where the soldiers and their families had to make the best of a hard life away from civilization. also well executed were the action sequences and the acting itself." [artabstracts] westbrook, max. "the night john wayne danced with shirley temple." western american literature, vol. 25 no. 2. 1990 aug. pp: 157-169. the grapes of wrath bednarek, janet r. daly. "an historian's view of the grapes of wrath." university of dayton review, vol. 23 no. 3. 1995-1996 winter. pp: 83-88. blake, richard a., sj. "going home: the films of john ford." thought, vol. 66 no. 261. 1991 june. pp: 179-95."traces the theme of homecoming in the screen adaptations of film director john ford (1895-1973). analysis of the informer (1935), the long voyage home (1940), and the grapes of wrath (1940) shows that the films diverge in a consistent pattern from the literary works from which they were derived. ford's western films, especially stagecoach (1939), my darling clementine (1946), the searchers (1956), and the man who shot liberty valence (1962), and his non-western works such as the quiet man (1952) and the wings of eagles (1957), can be interpreted as explorations of the quest for a home." [america history and life] calhoun, john . "the grapes of wrath." (video recording review) cineaste winter 2004 v30 i1 p51(2) (1283 words) uc users only campbell, r."the ideology of the social consciousness movie: three films of darryl f. zanuck."quarterly review of film studies iii/1, winter 78; p.49-71. examines the function of ideology and the social consciousness film in hollywood, with special reference to "the grapes of wrath", "gentleman's agreement", and "pinky" - all produced by zanuck. gladstein, mimi reisel. "from heroine to supporting player: the diminution of ma joad." in: critical essays on steinbeck's the grapes of wrath / [edited by] john ditsky. pp: 124-137. boston, mass.: g.k. hall, c1989. critical essays on american literature.--main stack ps3537.t3234.g847 1989--mainmoffitt ps3537.t3234.g847 1989 gossage, leslie. "the artful propaganda of ford's the grapes of wrath." in: new essays on the grapes of wrath / edited by david wyatt. pp: 101-25. new york: cambridge university press, 1990. american novel. --main stack ps3537.t3234.g857 1990--mainmoffitt ps3537.t3234.g857 1990 "the grapes of wrath: the values of john ford." university of dayton review, vol. 23 no. 3. 1995-1996 winter. pp: 99-103. "the grapes of wrath." (review)commonweal v. 31 (february 9 1940) p. 348 "the grapes of wrath." (review) life v. 8 (january 22 1940) p. 29-31 "the grapes of wrath." (review) the nation v. 150 (february 3 1940) p. 137-8 "the grapes of wrath." (review)the new republic v. 102 (february 12 1940) p. 212 "the grapes of wrath." (review)newsweek v. 15 (february 12 1940) p. 37-8 "the grapes of wrath." (review) saturday review of literature v. 21 (february 10 1940) p. 16 "the grapes of wrath." (review) time v. 35 (february 12 1940) p. 70+ hearle, kevin. "sturges and the grapes of wrath: sullivan's travels as documentary comedy." steinbeck newsletter, vol. 7 no. 2. 1994 summer. pp: 5-7. lucius, ramona. "let there be darkness: reversed symbols of light and dark in the grapes of wrath." pleiades, vol. 12 no. 1. 1991 fall-winter. pp: 50-58. macklin, tony."the grapes of wrath: the values of john ford and john steinbeck." university of dayton review (23:3) 1996, 99-103. menides, l.j."john huston's wise blood and the myth of the sacred quest." literature/film quarterly ix/4, 81; p.207-212. explores the film's parallels to elements in "the grapes of wrath" and their common theme of the hero's mythic journey. rule, philip c. "the grapes of wrath: the poor you always have with you." in: image and likeness: religious visions in american film classics / edited by john r. may. pp: 21-30. new york: paulist press, c1992. isaac hecker studies in religion and american culture.--main stack pn1995.5.i46 1992 sanderson, jim. "american romanticism in john ford's 'the grapes of wrath': horizontalness, darkness, christ, and f.d.r." literature-film quarterly v17, n4 (oct, 1989):231 (14 pages). sobchack, vivian c."the grapes of wrath (1940): thematic emphasis through visual style." american quarterly 1979 31(5): 596-615. "discusses the visual style of john ford's cinematic adaptation of john steinbeck's novel the grapes of wrath. usually the movie is examined in terms of its literary roots or its social protest. but the imagery of the film reveals the important theme of the joad family's coherence. the movie shows the family in closeups, cramped in small spaces on a cluttered screen, isolated from the land and their surroundings. dim lighting helps abstract the joad family from the reality of dust bowl migrants. the film's emotional and aesthetic power comes from its generalized quality attained through this visual style." [america history and life] how green was my valley "how green was my valley." commonweal v. 35 (november 7 1941) p. 72 "how green was my valley." life v. 11 (november 10 1941) p. 64-6+ "how green was my valley." the nation v. 153 (november 15 1941) p. 491 "how green was my valley." the new republic v. 105 (december 1 1941) p. 733 "how green was my valley." newsweek v. 18 (november 3 1941) p. 59-60 "how green was my valley." the new yorker v. 17 (november 1 1941) p. 72 "how green was my valley." theatre arts v. 25 (december 1941) p. 884+ "how green was my valley." time v. 38 (november 24 1941) p. 100+ mitchell, george j., 1918-1994. "how green was my valley: a verdant classic." american cinematographer v. 72 (sept. '91) p. 34-40. the informer blake, richard a., sj. "going home: the films of john ford." thought, vol. 66 no. 261. 1991 june. pp: 179-95."traces the theme of homecoming in the screen adaptations of film director john ford (1895-1973). analysis of the informer (1935), the long voyage home (1940), and the grapes of wrath (1940) shows that the films diverge in a consistent pattern from the literary works from which they were derived. ford's western films, especially stagecoach (1939), my darling clementine (1946), the searchers (1956), and the man who shot liberty valence (1962), and his non-western works such as the quiet man (1952) and the wings of eagles (1957), can be interpreted as explorations of the quest for a home." [america history and life] kalinak, l."the fallen woman and the virtuous wife: musical stereotypes in the informer, gone with the wind, and laura." film reader /5, 82; p.76-82. points out the use of the musical score to stereotype female characters in hollywood films; examples taken from "the informer", "gone with the wind" and "laura". the man who shot liberty valance coursen, d.f."john ford's wilderness - the man who shot liberty valance." sight & sound xlvii/4, autumn 78; p.237-41. illus. examination of ford's methods in the film to express his ambivalence towards the west and its past, the anarchy personified by valance, and the transformation brought about through ranse. darby, william. "musical links in young mr lincoln, my darling clementine, and the man who shot liberty valance." cinema journal v. 31 (fall '91) p. 22-36. ingrassia, catherine.'i'm not kicking, i'm talking': discursive economies in the western." film criticism xx/3, spring 96; p.4-14. the apparent dominance of actions over words in western films does not appear to diminish the need for western legends and heros to be validated by a film's textual constructions. in john ford's "the man who shot liberty valence" and clint eastwood's "unforgiven", the tension between actions and words in western films is explored. the films align themselves with the western film tradition even as they attempt to use text to move beyond it. pye, douglas. "genre and history: fort apache and the man who shot liberty valance." in: the book of westerns / edited by ian cameron and douglas pye. pp: 111-22. new york: continuum, 1996. --main stack pn1995.9.w4.b66 1996 --moffitt pn1995.9.w4.b66 1996 roche, mark w. "vico's age of heroes and the age of men in john ford's film the man who shot liberty valance." clio: a journal of literature, history, and the philosophy of history, vol. 23 no. 2. 1994 winter. pp: 131-47. ryan, cheyney. "print the legend: violence and recognition in the man who shot liberty valance." in: legal reelism: movies as legal texts / edited by john denvir. pp: 23-43. urbana: university of illinois press, c1996.--main stack pn1995.9.j8.l45 1996--mainmoffitt pn1995.9.j8.l45 1996 yawn, mike; beatty, bob. "john ford's vision of the closing west: from optimism to cynicism." film & history (26:1/4) 1996, 6-19.as two cinematic depictions of the american frontier, my darling clementine (1946) and the man who shot liberty valance (1962) reflect director john ford's transition from optimism to pessimism about the country's civilizing mission. my darling clementine baxter, john. the cinema of john ford. pp: 99-111. london, a. zwemmer; new york, a. s. barnes [1971]. series title: the international film guide series. --ucb main pn1998.a3 f568 b3 brooks, david "wyatt usurped." national interest, n37 (fall, 1994):66 (5 pages). an odd feature in russia is that people who dress like chicago gangsters actually claim they are like wyoming cowboys. many russians associate their condition with american pioneers. this is an era of the triumph of the bourgeois. aspiring bourgeoisie identify with the american western myth. henry ford, who portrayed wyatt earp in john ford's 1946 film 'my darling clementine,' plays a man fated to be a civilizer. ford presented in this movie art, science, religion and education. brown, royal s. "my darling clementine." (video recording review) cineaste summer 2004 v29 i3 p52(2) (2201 words) uc users only cohen, hubert i. "wyatt earp at the o.k. corral: six versions." journal of american culture (malden, ma) june 2003 v26 i2 p204(20) uc users only combs, richard. "my darling clementine." (movie reviews) tls. times literary supplement, n4832 (nov 10, 1995):35 creekmur, cory k. "acting like a man: performance in my darling clementine." in: out in culture: gay, lesbian, and queer essays on popular culture / edited by corey k. creekmur and alexander doty. pp: 167-82. durham: duke university press, 1995. series title: series q. --ucb main hq76.2.u5 o98 1995 darby, william. "musical links in young mr lincoln, my darling clementine, and the man who shot liberty valance." cinema journal v. 31 (fall '91) p. 22-36. erisman, fred. "the night christopher lloyd danced with mary steenburgen." (analyzing the myth of the westen hero) journal of popular film and television v20, n1 (spring, 1992):29 (5 pages). 'my darling clementine' was produced in 1946 while 'back to the future 3' was produced in 1990, but the films share a highly similar narrative structure which upholds the myth of the western genre's hero. this proves that the myth is not adversely affected by the modernization of society. the need for myths and their ability to generate symbolizations set in specific eras ensure their continued existence. these two western films encourage viewers to accept change while applying the lessons learned in past experiences. myths in this way provide a society with a vision for its future. gallafent, edward. "four tombstones 1946-1994." in: the book of westerns / edited by ian cameron and douglas pye. pp: 302-11. new york: continuum, 1996.--main stack pn1995.9.w4.b66 1996--moffitt pn1995.9.w4.b66 1996--bancroft pn1995.9.w4.b66 1996 non-circulating; may be used only in the bancroft library.) gomez, d."mise-en-sc‚ne in john ford's my darling clementine."wide angle ii/4, 78; p.14-19. illus. an analysis of the film illustrating ford's complex visual style. hutson, richard. "john ford's my darling clementine (1946)." representations. 84: 200-12. 2004. "a film about a legend of law and order in the american west was made by john ford as a validation of the american past for the immediate post-world war ii era, in an age of doubt and uncertainty, the serene but resolute figure of wyatt ear was designed to alleviate anxiety about the irrelevance of the past for the new era." [expanded academic index] luhr, william. "reception, representation, and the ok corral: shifting images of wyatt earp." in: authority and transgression in literature and film / edited by bonnie braendlin and hans braendlin. pp: 23-44. gainesville: university press of florida, c1996. --ucb main pn56.a87 a87 1996 magill's survey of cinema--english language films / edited by frank n. magill; associate editors, patricia king hanson, stephen l. hanson. series i, v3, pp: 1685-88. englewood cliffs, n.j: salem press, c1980. --ucb hum/area pn1995 .m3 v.1-4 (c1980) --ucb info ctr pn1995 .m3 1-4 "my darling clementine." (review)cineaste, 2 (fall 1968), pp:2-6 "my darling clementine." (review) commonweal v. 45 (december 6 1946) p. 202 "my darling clementine." (review) film comment, 7 (fall 2971), pp: 8-17. "my darling clementine." (review) new republic, v115 ((dec. 16, 1946), p.836+ "my darling clementine." (review)new york times, (dec. 4, 1946), p. 44 "my darling clementine." (review) the new yorker, v22 ((dec. 14, 1946), p. 89 "my darling clementine." (review) newsweek v. 28 (november 11 1946) p. 102+ "my darling clementine." (review) theatre arts v. 30 (december 1946) p. 715 "my darling clementine." (review) time v. 48 (november 11 1946) p. 104 my darling clementine: john ford, director robert lyons, ed. series title: rutgers films in print; v. 1. new brunswick, n.j.: rutgers university press, c1984. --ucb main pn1997 .m888 1984 --ucb moffitt pn1997 .m888 1984 nichols, mary p."heroes and political communities in john ford's westerns: the role of wyatt earp in my darling clementine." perspectives on political science spring 2002 v31 i2 p78(7) uc users only place, janey ann the western films of john ford. pp: 58-73. 1st ed. secaucus, n.j.: citadel press, [1974]. --ucb moffitt pn1998.a3 f62 quarterly journal of film, radio and television, v7 (winter 1952), pp: 116-28 romney, jonathan. "my darling clementine." (movie reviews) new statesman & society v8, n381 (dec 1, 1995):35 (1 page). uc users only schatz, thomas hollywood genres: formulas, filmmaking, and the studio system. pp: 67-70. philadelphia: temple university press, c1981. --ucb main pn1993.5.u6 .s32 1981b --ucb moffitt pn1993.5.u6 .s32 1981b) sickels, robert "all east on the western frontier: john ford's my darling clementine." film & history vol.xxxi nr.1 (2001); p.13-21 "argues that john ford's film "my darling clementine" is an example of the social attitudes taken in the early cold war era, in which urban eastern values win out over rural western values." [fiaf index to film periodicals] simmon, scott. "concerning the weary legs of wyatt earp: the classic western according to shakespeare." literature-film quarterly v24, n2 (april, 1996):114 (14 pages). "john ford's 1946 western "my darling clementine" combines the story of wyatt earp, doc holliday and the ok corral with elements of shakespeare's "hamlet." ford interjects hamlet's soliloquy into a scene to establish the tension between conscience and the rule of law as well as the possibility that conscience can look like cowardice when it leads to inaction. henry fonda's wyatt and victor mature's doc are combined to form ford's hamlet. ford conveys the ambiguity of his main characters and the tensions in the film through visual means more than through dialogue." [expanded academic index] tuska, jon. the filming of the west. pp: 491-96+ 1st ed. garden city, n.y.: doubleday, 1976. --ucb main pn1995.9.w4 t81 -- ucb moffitt pn1995.9.w4 t8 yawn, mike; beatty, bob. "john ford's vision of the closing west: from optimism to cynicism." film & history (26:1/4) 1996, 6-19.as two cinematic depictions of the american frontier, my darling clementine (1946) and the man who shot liberty valance (1962) reflect director john ford's transition from optimism to pessimism about the country's civilizing mission. the quiet man campbell, m."the quiet man."wide angle ii/4, 78; p.44-51. illus. discusses ford's use of the comic form as an ideological forum. dowling, william c. "johns ford's festive comedy: ireland imagined in the quiet man." (critical essay) eire-ireland: a journal of irish studies fall-winter 2001 p190(23) uc users only " critics of director john ford's film the quiet man (1952) commonly characterize the film's vision of a premodern ireland of cattle fairs and donnybrooks as cultural imperialism, with hollywood perpetuating assorted irish myths. those convinced of ford's creative genius will understand that the director found in ireland something akin to the imaginative resource that yeats saw in irish myth. the quiet man has much more in common with a shakespearean romantic comedy - in which there is an opposition between the world of sober morality and responsibility and that of holiday freedom - than with anything in modern irish culture. the film revolves around an underlying tension between ireland (or at least the ireland that ford locates in an imaginary irish village), and the opposing world, a distant america with its remorseless economic individualism." [america history and life] sickels, robert. "pastoral dreams in innisfree, ireland, u.s.a.: a re-examination of john ford's the quiet man." popular culture review. 15 (1): 29-37. 2004. rio grande keilar, brianna"john wayne's america: rio grande" [ucb student paper]. leighninger, robert d., jr. "the western as male soap opera: john ford's 'rio grande.'" journal of men's studies v6, n2 (wntr, 1998):135 (14 pages). john ford's 1950 western 'rio grande' can be seen as a cultural preview of men's concerns. scholars are beginning to realize that men experience conflicts between career and family, and ford's film portrays a male-role struggle that cannot be resolved either by institutional power or violent physical action. the constraints for this situation are within rigid social expectations, generally the context for melodrama and soap opera. nolley, ken. "printing the legend in the age of mx: reconsidering ford's military trilogy." literature/ film quarterly, vol. 14 no. 2. 1986. pp: 82-88. critical reappraisal of j.f.'s cavalry films, "fort apache", "she wore a yellow ribbon" and "rio grande". palmer, r. barton. "masculinist reading of two western films: high noon & rio grande." journal of popular film and television, vol. 12 no. 4. 1984-1985 winter. pp: 156-162. "rio grande." (review) the new republic v. 123 (december 11 1950) p. 28 "rio grande." (review) newsweek v. 36 (november 27 1950) p. 84 "rio grande." (review) saturday review of literature v. 34 (february 17 1951) p. 30 "rio grande." (review) time v. 56 (december 11 1950) p. 98 the searchers buscombe, edward the searchers. london: british film institute, 2000. --main: pn1997.s43 b873 2000; card, james van dyck."the searchers: by alan lemay and john ford." literature/film quarterly (16:1) 2-9. 1988 clauss, james j. "descent into hell." (john ford's 'the searchers')(critical essay) journal of popular film and television v27, n3 (fall, 1999):3. "the writer examines mythic paradigms in john ford's the searchers, focusing on the folktale motif of the descent into the underworld (katabasis). he outlines the characteristic elements of katabasis, which include a descent undertaken by a hero, either metaphorically or literally; a traveler who comes and goes at night, through caves, over rivers and mountains, and other geographical barriers; a hero who frequently needs a guide; a forbidding region which is often ruled by a despotic figure; and a hero who undergoes the death of the old self and the birth of the new. he then shows that all these elements are found in the searchers. he argues that by accentuating these traditional elements of katabasis, ford has raised the level of the narrative from a story about individuals on the frontier to a myth about a critical stage in the evolution of a culture in which the old way of life is dying and a new one is about to emerge." [artabstracts] cole, david l. "mose harper: eccentricity and survival in "the searchers"." literature-film quarterly v28, n3 (july, 2000):" (5 pages). "the redemptive and triumphant aspects of the eccentric and pure character, mose harper, in john ford's western film "the searchers" are examined. topics include the artistic debt the film owes to the novel on which it was based, the development of mose harper's character, and the conflict between civilization and the frontier life." [expanded academic index] courtney, susan. "looking for (race and gender) trouble in monument valley." qui parle: literature, philosophy, visual arts, history, vol. 6 no. 2. 1993 spring-summer. pp: 97-130. card, james van dyck. "the searchers: by alan lemay and by john ford." literature/ film quarterly, vol. 16 no. 1. 1988. pp: 2-9. eckman-jadow, judith "love the western way: shane, the searchers, unforgiven." issues in psychoanalytic psychology. vol 25(2), fal 2003, pp. 67-80 "presents an psychoanalytic review of the western films, shane, the searchers, and unforgiven. the author discusses what is gratifying about watching these films. specifically, it is noted that according to freud, being present as a spectator allows one to identify with the hero, without risks. freud thought the hero struggled between wish and inhibition and one or the other must be renounced. today we understand that the struggle goes on, and that complete renunciation is not necessary. compromise formations allow expression of both wish and inhibition, not always to the benefit of the hero. it is argued that in the myth of the frontier, depicted in the western film, we have a regression to the primitive which signals a conflict between a wish and a prohibition. the author illuminates particular unconscious conflicts shown in male protagonists of the western film. compromise formations depicted as attempted solutions to these conflicts are delineated." [psychinfo] eckstein, arthur m. "after the rescue: the searchers, the audience and prime cut." journal of popular culture, vol. 28 no. 3. 1994 winter. pp: 33-53. eckstein, arthur m. "darkening ethan: john ford's the searchers (1956) from novel to screenplay to screen." cinema journal, 1998, 38:1, 3-24."director john ford was intensely involved in a continuous process of darkening the racist ethan edwards character in his 1956 movie, the searchers. the movie centers on a successful outlaw, played by the all-american icon john wayne, whose antisocial behavior is not that of a traditional western hero but of a grim, solitary, and forbidding figure for whom social constraints are meaningless. very little of this behavior is evident in alan lemay's eponymous novel, on which frank s. nugent's screenplay for the film was based, but much more of it appears in nugent's final shooting script, which was supervised by ford; during the filming of the movie, ford made crucial and ad hoc decisions to darken the character, creating a fearsome, vicious, driven figure. the changes reveal ford's negative attitude toward the character and his intention to depict a psychologically damaged, tragic figure." [artabstracts] freedman, jonathan. "the affect of the market: economic and racial exchange in 'the searchers'." (history in the making)(critical essay) american literary history v12, n3 (fall, 2000):585 (15 pages). john ford's 1956 film 'the searchers' links commerce to race. this motion picture portrays corrupt capitalism in the jewish character fetterman and the possible redemption of an immigrant community through miscegenation. baughman, james l. "that'll be the day": response to freedman.(history in the making)(response to article in this issue, p. 585)(critical essay) american literary history v12, n3 (fall, 2000):605 (5 pages). henderson, brian. "'the searchers': an american dilemma." film quarterly 34:2 (1980/1981:winter) 9-23 structural analysis of the j.f. western, emphasizing the film's mythic aspects. kindem, g."color signification in john ford's 'the searchers'." (article). film reader /2, jan 77; p.78-84. an analysis of color in "the searchers", applying the semiotic theories of peirce, metz, and wollen; color's function in the narrative; and alterations of the color signs in the literary source. kinder, marsha. "ideological parody in the new german cinema: reading the state of things, the desire of veronika voss, and germany pale mother as postmodernist rewritings of the searchers, sunset boulevard, and blonde venus." quarterly review of film and video v. 12 (may '90) p. 73-103. lee, karen a. "john ford's the searchers (1956) in chuang hua's crossings: a chinese american woman's categorical liminality in a cold war society." hitting critical mass: a journal of asian american cultural criticism, 4 (2): 79-86 1997 summer. lehman, peter."looking at look's missing reverse shot: psychoanalysis and style in john ford's "the searchers"."wide angle iv/4, 81; p.65-69. illus. on the conventions of the western which allow j.f. to displace racial tensions. lehman, peter. "texas 1868 / america 1956: the searchers." in: close viewings: an anthology of new film criticism/ edited by peter lehman. pp: 387-415. tallahassee: florida state university press, c1990.--main stack pn1995.c543 1990 luhr, william. authorship and narrative in the cinema: issues in contemporary aesthetics and criticism / william luhr, peter lehman, pp: 85-136 new york: putnam, c1977. --ucb main pn1995 .l831 *c2 copies magill's survey of cinema--english language films / edited by frank n. magill; associate editors, patricia king hanson, stephen l. hanson. series i, v4, pp: 1502-1506. englewood cliffs, n.j: salem press, c1980. --ucb hum/area pn1995 .m3 v.1-4 (c1980)--ucb info ctr pn1995 .m3 1-4) mcbride, joseph. john ford / joseph mcbride and michael wilmington. pp: 147-63 london: secker & warburg, 1974. series title: cinema two. (ucb main pn1998.a3 f591 1974) miller, pat . "the race to settle america: nice guys do finish last." literature-film quarterly, oct 2001 v29 i4 p315(6) "john ford's adaptation of 'the searchers' presented improved relations between native americans and whites as a metaphor for 1940s and 1950s us supreme court decisions about race relations. ford's film argued race had to be accepted to ensure civilization, which continues to be an american reality." [expanded academic index] movshovitz, howard. "the still point: women in the westerns of john ford." frontiers 1984 7(3): 68-72.in stagecoach (1939) and the searchers (1956), director john ford presents women as living in a world fundamentally different from that of men; the outward manifestation of the difference is the stillness (not necessarily passivity) of the women and the contrasting activity of the men. nachbar, jack g. "as sure as the turning of a page: a bibliography for "the searchers"." journal of popular film & television 30:4 [winter 2003] p.228-229 o'brien, geoffrey. "the movie of the century: it looks both backward to everything hollywood had learned about westerns and forward to things films hadn't dared do." (influence of john ford's 1956 motion picture 'the searchers'. american heritage v49, n7 (nov, 1998):16 (4 pages). john ford's film 'the searchers' represents the classic hollywood western with many differences. its innovative script elements with unanswered questions, implied physical violence, cinematic conflicts and the fulfilled and unfulfilled human search for meaning underscore life's uncertainties instead of providing a misleading happy ending. peek, wendy chapman. "cherchez la femme: the searchers, vertigo, and masculinity in post-kinsey america." journal of american culture vol. 21 no. 2. 1998 summer. pp: 73-87. pye, douglas. "double vision: miscegenation and point of view in the searchers." in: the book of westerns / edited by ian cameron and douglas pye. pp: 229-35. new york: continuum, 1996.--main stack pn1995.9.w4.b66 1996--moffitt pn1995.9.w4.b66 1996--bancroft pn1995.9.w4.b66 1996 non-circulating; may be used only in the bancroft library.) roth, marty. "'yes my darling daughter': gender, miscegenation, and generation in john ford's the searchers." new orleans review, vol. 18 no. 4. 1991 winter. pp: 65-73. "the searchers" (review) film comment, 7 (spring 1971), pp: 56-61 "the searchers" (review) film quarterly, 34 (winter 1980-81), pp: 9-23 "the searchers" (review) films and filming, 34 (sept. 1956), pp: 25-26 "the searchers" (review) films in review,7 (june-july 1956), pp: 284-285 "the searchers" (review) the nation v. 182 (june 23 1956) p. 536 "the searchers" (review)new york time, (may 31, 1956), p. 21 "the searchers" (review)new yorker, 32 (june 9, 1956), p. 54 "the searchers" (review) newsweek v. 47 (may 21 1956) p. 116 "the searchers" (review) sight and sound, 26 (fall 1956), pp: 94-95 "the searchers" (review) sight and sound, 40 (fall 1971), pp: 210-14 "the searchers" (review) time v. 67 (june 25 1956) p. 58+ "the searchers" (review) wide angle, v2 (1978), pp: 36-42 "the searchers" (review) wide angle, v4 (1981), pp: 65-70 the searchers : essays and reflections on john ford's classic western edited by arthur m. eckstein and peter lehman. detroit, mich. : wayne state university press, c2004. contemporary approaches to film and television series.--mainelectronic location: table of contents http://www.loc.gov/catdir/toc/ecip0410/2003023827.html--main stack pn1997.s3197.s43 2004 skerry, philip j. "what makes a man to wander? ethan edwards of john ford's the searchers." new orleans review, vol. 18 no. 4. 1991 winter. pp: 86-91. thomson, david. "open and shut: a fresh look at 'the searchers.'" film comment v33, n4 (july-august, 1997):28 (4 pages). "john ford's the searchers is one of the best american films ever made. the film's central character, a wandering loner played by john wayne, is a figure of frightening, impacted desire who knows that he has to deny himself. neither ford nor wayne could bear the idea of the romantic, windswept loner being part of humdrum society, becoming old or ordinary, or being beholden. thus, at the end of the film wayne's character returns to the desert to become a sort of perpetual nomad. in the end, the movie demands that the viewer disregard what the film means and instead feel its wonder and romance." [art abstracts] travers, peter. "the searchers." (movie reviews) rolling stone, n658 (june 10, 1993):73 (2 pages). winkler, martin m."tragic features in john ford's the searchers." bucknell review (35:1) 1991, 185-208. sergeant rutledge manchel, frank. "losing and finding john ford's 'sergeant rutledge'" (1960). (director; motion picture) historical journal of film, radio and television v17, n2 (june, 1997):245 (15 pages). director john ford's motion picture 'sergeant rutledge' is a striking example of an excellent message film which was ridiculed at the box office despite mostly positive reviews and support from civil rights leaders. the 1960s morality film about the 1881 trial of an african-american trooper wrongly accused of rape and murder deserves to be honored because of its important insights into john ford, hollywood and african-americans in the 1960s. white, armond."stepping forward, looking back." ('sergeant rutledge' by john ford) film comment v36, n2 (march, 2000):32. "john ford's 1960 courtroom western sergeant rutledge offers a complex examination of racism as an impulse at the heart of american institutions. the western genre flattered white people, frequently denigrating african-americans and native americans, but in sergeant rutledge ford abandoned his usual white-hero sentiment to explore the specter of white hatred and the judicial, military, commercial, and familial customs that engender it. the imposing woody strode plays braxton rutledge, a sergeant-at-arms of the 9th cavalry of black soldiers whose trial for the rape and murder of a white woman is emblematic of the stigmatized threat of black males. by emphasizing rutledge's heroism and placing him center stage, ford affords the character a level of dignity that hollywood has withheld from black males. ford acknowledges that racism exists, and its evidence is in america's historical, cultural, and cinematic records." [artabstracts] she wore a yellow ribbon deutelbaum, marshall"narrative structure of 'she wore a yellow ribbon'."cinema journal, xix/1, fall 79; p.60-70. morgan, jack. "the irish in john ford's seventh cavalry trilogy - victor mclaglen's stooge-irish character." melus v22, n2 (summer, 1997):33 (12 pages). victor mclaglen's portrayal of irish characters in john ford's trilogy of seventh cavalry films reinforced the stereotypical views of the time of irish as essentially interested in combat, singing, dancing and drinking. ford was irish-american and often promoted ireland in many of his films, but ford's willingness to incorporate a simplistic view of his culture is one of his shortcomings. nolley, ken. "printing the legend in the age of mx: reconsidering ford's military trilogy." literature/ film quarterly, vol. 14 no. 2. 1986. pp: 82-88. critical reappraisal of j.f.'s cavalry films, "fort apache", "she wore a yellow ribbon" and "rio grande". westbrook, laurel "propaganda and american values in she wore a yellow ribbon." [ucb student paper] stagecoach browne, nick. "the spectator-in-the-text: the rhetoric of stagecoach." in: film theory and criticism: introductory readings / edited by leo braudy, marshall cohen. pp: 148-63. 5th ed. new york: oxford university press, 1999.--main stack pn1994.m364 1999 buscombe, edward. stagecoach london: bfi publishing, 1992. bfi film classics. --mainmoffitt pn1997.s65733.b87 1992 engel, leonard. "mythic space and monument valley: another look at john ford's stagecoach." literature/ film quarterly, vol. 22 no. 3. 1994. pp: 174-80. kriegel, leonard. "images of the american male." cuny english forum, vol. 1 pp: 5-21. lehman, peter. "'tonight your director is john ford': the strange journey of stagecoach from screen to radio." play it again, sam: retakes on remakes/ edited by andrew horton and stuart y. mcdougal; with an afterword by leo braudy. pp: 295-309. berkeley: university of california press, c1998. --ucb main pn1995.9.r45 p58 1998 movshovitz, howard. "the still point: women in the westerns of john ford." frontiers 1984 7(3): 68-72.in stagecoach (1939) and the searchers (1956), director john ford presents women as living in a world fundamentally different from that of men; the outward manifestation of the difference is the stillness (not necessarily passivity) of the women and the contrasting activity of the men. young mr. lincoln abel, richard"paradigmatic structures in young mr. lincoln." wide angle ii/4, 78; p.20-26. illus. deals with the recurrence of specific paired sequences and the position/movement of the lincoln figure in related sequences. browne, nick"cahiers du cinema's rereading of hollywood cinema: an analysis of method." quarterly review of film studies, iii/3, summer 78; p.405-416. a critique of method though an analysis of 'cahiers' practice of critical reading, using the texts on "young mr. lincoln" and "morocco". browne, n."the spectator of american symbolic forms: re-reading john ford's 'young mr. lincoln'. "film reader /4, 79; p.180-188. analysis of how the film preaches its political message. darby, w."musical links in young mr. lincoln, my darling clementine, and the man who shot liberty valance."cinema journal xxxi/1, fall 91; p.22-36. analyses the dramatic use made of music in four john ford films. "john ford's young mr. lincoln. a collective text by the editors of cahiers du cinema." screen, xiii/3, autumn 72; p.5-44. extended analysis of the film, pointing out the director's underlying ideology in the presentation of lincoln. translation from 'cahiers du cinema.' kinder, marsha"the image of patriarchal power in young mr. lincoln and ivan the terrible, part i." film quarterly xxxix/2, winter 85-86; p.29-49. examines how both films use the iconic hero as a stylistic pattern to direct the reading of the narrative, and how each comments on the contemporary political context in which they were made. place, j.a."young mr. lincoln, 1939." wide angle ii/4, 78; p.28-35. in-depth analysis of 'young mr. lincoln' illustrates the treatment of historical and cultural myth-making in ford's films wexman, virginia wright"'right and wrong; that's [not] all there is to it!': young mr. lincoln and american law." cinema journal, vol. 44, no. 3, pp. 20-34, spring 2005. wollen, peter"young mr. lincoln." (film review).screen xiii/3, autumn 72; p.44-47. copyright (c) 1996 by the library, university of california, berkeley. all rights reserved. document maintained on server: http://www.lib.berkeley.edu/ by gary handman, head, media resources center. last update 01/26/06 [gh] mrc web graphics by mary scott, graphics office, the teaching library

Acceuil

suivante

john ford: a short bibliography of materials in the uc berkeley libraries  2007 August « Frontier Former Editor  Brown Alumni Magazine - Class Notes - 1980  MAGIJA  Festival  blue page confidential University of Waterloo SENA TE Notice of ...  PC 16.2-03 Yang  MySpace.com - UVE - 85 - Male - Madrid, ES - www.myspace.com/djuve  The Charley Project: Alphabetical Indexes: A through E  News Indexed by Topic - COGNITIVE SCIENCE ARCHIVE  index_filmy Mi-My  Thrillville , la suite en images par Jeuxvideo.fr  La Passione di Cristo  San Francisco Giftcenter and Jewelrymart  Årbog 2004  DVDventas.com  DVDventas.com  DVD pagal žanrą: Romantiniai  *trial theme for women. dresses that on fit you , theme for men ...  United Cerebral Palsy  (E)-THIS Critic's Choices at Kaboodle  Crank Cast List - Yahoo! Movies UK  NAEA : NAEA's National Tax Practice Institute Fellows  What happened on October 21st  artforum.com / DIARY  Nuovo look di britney? - Yahoo! Answers  Why Aren't They Talking About Ho Yeow Sun?  Virrey de Mendoza en lajaula.net  allmovie ((( Re-Issues > Re-Issues > Feature )))  Foreign Press Review  Nan's Blog  Charles Leski Auctions - Autographs - Auction 293  Öğretmenleri tehdit ettiler [ Haber Sitesi EnSonHaber.Com ...  heroism DVD Movies Library,Download in DVD, DivX, iPod quality ...  The Four Word Film Review  November 2007  Mirren MAD - Ex Saints: Christopher Wreh  Chicago Reader The Reader's Guide to the Chicago International ...  Schnauzer page  THE SALARIES THREAD :: Players and coaches - Page 3 - BigSoccer  Magyar Nemzeti Filmarchívum  MVlib - Action movies  Das aktuelle Kinoprogramm - Filmdatenbank  Bulletin Board  The National Free Press - Past Feature Editorial  Round 11  Category - dvdqt  Living thing  TÊTU  TITRES EN W  bardachreports  cantilangnon  The Salvia divinorum Research and Information Center  Championnat de France espoirs difficulté 2007 Le10/07/07 àCHAMONIX ...  USCITE in DVD - Maggio 2006  COMICON.com: R.I.P. IBOOKS BYRON PREISS  Kanguhru's Spirit  Resist 13  Driver Database - keeping track of race results and statistics  2002-03 Theatre Season Reviews  DVDcollection