Relevant bibliographies by topics / John Ford

Academic literature on the topic 'John Ford'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "John Ford"

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Mason, Jeffrey D., Peter Stowell, and Robert Lyons. "John Ford." Theatre Journal 39, no. 3 (October 1987): 404. http://dx.doi.org/10.2307/3208171.

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Gallagher, Tag. ": John Ford . Peter Stowell ." Film Quarterly 40, no. 4 (July 1987): 32–33. http://dx.doi.org/10.1525/fq.1987.40.4.04a00170.

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HOPKINS, LISA. "JOHN FORD AND CYPRUS." Notes and Queries 44, no. 1 (March 1, 1997): 101–2. http://dx.doi.org/10.1093/nq/44-1-101.

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HOPKINS, LISA. "JOHN FORD AND CYPRUS." Notes and Queries 44, no. 1 (1997): 101–2. http://dx.doi.org/10.1093/nq/44.1.101.

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Cordner, Michael, and Michael Neill. "John Ford: Critical Re-Visions." Yearbook of English Studies 21 (1991): 360. http://dx.doi.org/10.2307/3508536.

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Steen, Sara Jayne, and Michael Neill. "John Ford: Critical Re-Visions." Theatre Journal 42, no. 4 (December 1990): 516. http://dx.doi.org/10.2307/3207738.

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Loy, R. Philip, and Ronald L. Davis. "John Ford: Hollywood's Old Master." Western Historical Quarterly 26, no. 4 (1995): 545. http://dx.doi.org/10.2307/970884.

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BARBOUR, REID. "Recent Studies in John Ford." English Literary Renaissance 21, no. 1 (January 1991): 102–17. http://dx.doi.org/10.1111/j.1475-6757.1991.tb01021.x.

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Williams, Tony 1946 Jan. "Searching for John Ford (review)." New Hibernia Review 6, no. 2 (2002): 150–52. http://dx.doi.org/10.1353/nhr.2002.0022.

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Hopkins, Lisa. "John Ford’s Strange Truth." Critical Survey 34, no. 2 (March 1, 2022): 93–104. http://dx.doi.org/10.3167/cs.2022.340208.

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From the 1620s to the 1630s, John Ford revisited Shakespeare and made him strange. ’Tis Pity She’s a Whore inverts Romeo and Juliet by making its core relationship endogamous rather than exogamous. Perkin Warbeck is a sequel to Richard III, but undoes its original by telling a story fundamentally incompatible with Shakespeare’s. The Lover’s Melancholy echoes both Twelfth Night and King Lear, collapsing the distinction between comedy and tragedy. Above all, Ford reworks Othello, which lies behind the plots of four of his plays. The estranging effect produced by these reshapings is underlined by Perkin Warbeck’s subtitle ‘A Strange Truth’ and the word ‘strange’ appears forty-nine times in his plays. Ford uses familiar Shakespearean stories to highlight the strangeness of the stories which he himself tells.
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Dissertations / Theses on the topic "John Ford"

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Fung, Kai Chun. "The reception of Elizabethan and Jacobean drama in the Romantic period: the case of John Ford." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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Fung, Kai Chun. "The reception of Elizabethan and Jacobean drama in the Romantic period the case of John Ford /." University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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Mayhew, Steve. "Becoming John Ford : the silent period 1914-1930." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/27731/.

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Drawing on extensive primary research into John Ford’s early films, from the silent era up until the late 1920s, the thesis charts the evolution of what has become known as the ‘Fordian sensibility’ through a close textual analysis of the director’s extant silent films, taking into account the implications of the auteur theory as applied to Ford’s work. A major part of the research process has been devoted to the appropriation of the director’s surviving early titles, in order that all existing film materials relevant to the thesis can be included. Prior to examining Ford’s silent film output, the thesis covers the evolution of the auteur theory, and the nature of the ‘Fordian sensibility’. This chapter also discusses key thematic and visual motifs that have been identified by various film scholars over the years, along with a number of other patterns discerned by the author of this thesis, through a close examination of all of Ford’s sound films, from The Black Watch (1929) through to 7 Women (1966). The main text of the thesis considers whether the identified key thematic and visual motifs can be detected in the director’s early work, and how these themes and motifs evolved chronologically into fully formed components of the ‘Fordian sensibility’. The four main chapters of the thesis cover the following periods: Pre-directing career 1914 – 1917; Apprenticeship at Universal 1917 – 1921; Early 1920s work at Fox 1921 – 1926; Late silent period at Fox 1927 – 1930. This examination of the director’s work analyses how John Ford, the man and the director, became ’John Ford’, the brand, and the label. Using the director’s early silent work as a case study, it questions how the idea of ‘authorship’ is formed and studies how Ford’s style and aesthetic evolved during the silent period due to the influence of other artists; biographical factors; technological innovations; and institutional, cultural and social issues.
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Osman, Mohammad Jalal. "John Ford and the alternative world : a study in character and society." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236548.

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Navarro, Crego Miguel Ángel. ""Sergeant Rutledge", de John Ford, como un mito filosófico." Doctoral thesis, Universidad de Oviedo, 2009. http://hdl.handle.net/10803/11129.

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Este trabajo quiere celebrar el cincuenta aniversario del estreno del filme Sergeant Rutledge (El Sargento negro), mostrando cómo se desarrollan las relaciones interpersonales en esta película. Estudia la ontología y la gnoseología del filme, para comprender por qué John Ford es un auténtico poeta clásico desde la perspectiva de Platón y Aristóteles. Además la película es un verdadero mito filosófico, constructor y transmisor de aquello que Aristóteles llama en la Poética (1451b) "lo universal". Por último, esta obra de Ford es crucial como vehículo de una tesis antirracista e integradora de los afroamericanos, en el contexto de sus luchas por los derechos civiles en Estados Unidos en la década de los cincuenta y sesenta del siglo XX.
The author of this article wishes to celebrate the 50th anniversary of the première of Sergeant Rutledge, showing how interpersonal relation ships are developed in this film. He studies the ontology and gnoseology of the film, to understand how John Ford is a real classical poet from the perspective of Plato and Aristotle. The film is also a true philosophical myth which builds and transmits the so-called Poetics of Aristotle (1451b), "the Universal". This work of Ford is essential as a vehicle of an anti-racist and integrating view of Afro-Americans in USA, in the context of the civil right's figths of 50' and 60' decades of XX century.
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PEREIRA, Allan Kardec Da Silva. "Imagens que pensam o outro: o índio no cinema de John Ford." Universidade Federal de Campina Grande, 2015. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/483.

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Submitted by Jesiel Ferreira Gomes (jesielgomes@ufcg.edu.br) on 2018-04-24T23:59:32Z No. of bitstreams: 1 ALLAN KARDEC DA SILVA PEREIRA – DISSERTAÇÃO (PPGH) 2015.pdf: 6621130 bytes, checksum: 93a2ef91fcf44975891d891a1c29203a (MD5)
Made available in DSpace on 2018-04-24T23:59:32Z (GMT). No. of bitstreams: 1 ALLAN KARDEC DA SILVA PEREIRA – DISSERTAÇÃO (PPGH) 2015.pdf: 6621130 bytes, checksum: 93a2ef91fcf44975891d891a1c29203a (MD5) Previous issue date: 2015-04
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O presente estudo aborda a imagem do índio no cinema de John Ford. Para além de uma mera descrição dos filmes, empreendemos uma modalidade de análise que também se detém aos aspectos de produção do filme, sua circulação e consumo, além do seu poder de provocar pensamentos sobre os indígenas e a história americana. Dessa forma, cientes de que a imagem é atravessada por inúmeras temporalidades, que se digladiam em seu interior, destacamos o que Georges Didi-Huberman vai chamar de imagens sintomáticas, que nos permitiram pensar a sobrevivência de formas da tradição western, inventada no século XIX. O uso que fazemos de diversas figuras, entretanto, procura fugir de sua típica instrumentalização como “ilustração” do discurso escrito. As imagens em nosso estudo, por outro lado, aparecem enquanto propositoras de pensamento ao texto. Inicialmente, empreendemos uma análise de como o western é inventado enquanto tradição no século XIX nos Estados Unidos. Em seguida, discutiremos como esse arquivo de imagens sobrevive no cinema de John Ford, desde o filme O Cavalo de Ferro, em 1924, até Crepúsculo de uma Raça, em 1964. Quanto à temporalidade foi preciso apropriar-se do modelo anacrônico de análise das imagens defendido por Georges Didi-Huberman. Do mesmo modo, com Etienne Samain, buscamos discutir como essas imagens pensam e nos convocam a pensar os índios, esse Outro de que falamos.
This study addresses the image of the Indian in the John Ford cinema. Beyond a mere description of the films, we undertook a mode of analysis that also owns the film production aspects, circulation and consumption, in addition to their ability to provoke thoughts on Indigenous and American history. Thus, aware that the image is crossed by numerous temporalities that battle it out inside, we highlight what Georges Didi-Huberman will call symptomatic images which allow us to think the survival of the western tradition forms, invented in the nineteenth century . Our use of several figures, however, seeks to escape his typical instrumentation as "illustration" of the written speech. The images in our study, on the other hand, appear as propositoras of thought to the text. Initially, we undertook an analysis of how the western tradition is invented while in the nineteenth century in the United States. Then discuss how this image file survives in the John Ford film, from the movie The Iron Horse in 1924 to Cheyenne Autumn in 1964. As for the temporality had to take ownership of the anachronistic model of analysis of images defended by Georges Didi -Huberman. Similarly, with Etienne Samain, we discuss how these images think and summon us to think the Indians, this Other that we speak.
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Meynier, Fabien. "Archéologie et esthétique des lieux dans les œuvres de John Ford, Jean-Marie Straub, Danièle Huillet et Tariq Teguia." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30083.

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Ce travail de thèse voudrait interroger les liens qui peuvent unir certains films avec un type d’espace spécifique, le lieu. L’hypothèse de départ consiste, en suivant les travaux d’historiens, de géographes et d’historiens de l’art, à établir un rapport entre le mouvement de patrimonialisation qui se développe au XIXe siècle, principalement autour de la représentation des lieux et des monuments, et l’émergence du cinématographe. Ce rapport est d’ordre fonctionnel et discursif : nombre d’intellectuels voient dans le cinématographe naissant le média adéquat pour produire des images patrimoniales de lieux. Dès lors, ce travail voudrait réinterroger certaines œuvres, dont les films réalisés par John Ford au sein de Monument Valley, ceux que Jean-Marie Straub et Danièle Huillet ont tourné entre 1975 et 1980, ou encore l’œuvre en cours de Tariq Teguia, dans le but d’essayer de saisir la façon dont cette « série culturelle » patrimoniale a pu être réinvestie dans des corpus très divers. La méthode iconologique, appliquée ici à des représentations spatiales, permettra de mettre à jour des liens figuratifs et conceptuels dans les œuvres, que les contextes socio-historiques semblent séparer de façon imperméable
My thesis questions the links that may bind different kinds of movies together following a certain type of space : the place. As such, I will base my research on the works of historians, geographers and art historians in order to establish a link between representations of places and monuments, and the apparition of cinematograph. This link is functional and discursive: many intellectuals see in the nascent cinematograph the apt media for the production of patrimonial pictures. Henceforth, this work would like to question new works, among which the movies of John Ford directed in Monument Valley, those directed by Jean-Marie Straub and Danièle Huillet from 1975 to 1980, along with the movies of Tariq Teguia, are to be found. My objective is to understand the way this patrimonial « cultural series » could be reinvested in very different corpuses. The iconological method, applied to spatial representations, will allow me to show figurative and conceptual links in movies that belong to different historical contexts
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Petrovic, Boris. "Le mythe national dans l'oeuvre de John Ford et Veljko Bulajic." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040175.

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Le but principal de cette thèse est d’analyser les westerns et films partisans de notre corpus comme des récits mythiques qui véhiculent un mythe national, respectivement américain et yougoslave, et affirment ainsi la société et la nation en question. Le travail est divisé en quatre parties. La première partie étudie l’idéologie nationale et la notion de mythe national ; la deuxième est consacrée à l’analyse des oeuvres d’art en tant que récits mythiques créés autour d’une idéologie nationale, qui sert de « mythomoteur », selon l’expression d’Anthony D. Smith. La troisième partie examine l’axe diachronique du récit mythique et l’évolution de ces oeuvres dans le temps, et la quatrième partie creuse la relation entre l’idéologie véhiculée par les oeuvres et la réussite de la création du mythe national américain et yougoslave
The principal goal of this thesis is to analyze the works of the corpus as mythical narratives that carry the notion of the national myth and that participate in the creation of the national myth of the society and the nation in question. The work is divided into four sections. The first section inspects the national ideology and the notion of the national myth. The second is dedicated to analyzing the works of our corpus as the mythical narratives. The principal idea is to analyze the works at hand as if they were created around the nationalist ideology (that serves as a mythomoteur, according to the definition proposed by Anthony D. Smith). The third section inspects the diachronical axis of the mythical narrative and the placement of the works on a temporal line (on that diachronical axis), while the fourth section inspects the relation between the ideology carried by the works of the corpus and the success of the creation of the American and Yugoslav national myth
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Sanchez, Pérez Jorge Humberto. "El sentido de la libertad en la obra de John Locke." Master's thesis, Universidad Nacional Mayor de San Marcos, 2012. https://hdl.handle.net/20.500.12672/15650.

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Presenta un análisis comparativo entre los elementos de la teoría epistemológica postulada y defendida públicamente por John Locke, particularmente recogida en el Ensayo sobre el entendimiento humano, y la teoría política planteada por él en los Dos tratados sobre el gobierno civil. Tal análisis permite evaluar la coherencia entre uno y otro, pudiendo definir si, finalmente, ambos trabajos podrían presentarse bajo una perspectiva lógica y sistémica. Tal análisis tiene relevancia directa para el estudio y apreciación de los textos políticos de Locke, en tanto el modelo liberal propuesto en tales textos es el predominante en el mundo occidental. Es decir, las aplicaciones prácticas de su obra se han manifestado a lo largo de cientos de años y corresponde conocer cuáles fueron las verdaderas valoraciones que el autor podría tener sobre tales obras. Tres preguntas claves son aquellas que guían el desarrollo de la presente investigación. La primera: ¿Cuál es la teoría epistemológica de Locke y cuál es su alcance y coherencia dentro de lo que propone? La segunda: ¿Cuáles son los fundamentos de la teoría política de Locke? Y la tercera y fundamental: ¿Cuáles son las relaciones que se desprenden de leer ambas esferas? Para lograr tal cometido la presente investigación se divide en 4 secciones. La primera está referida a la investigación acerca del entendimiento y el conocimiento en la obra epistemológica de Locke. En tanto es posible notar que existe un claro vacío sobre la discusión del propio concepto de entendimiento en Locke, se parte por tratar de llenar tal vacío en función de proponer una lectura coherente del total de su obra epistemológica. Luego se procedió a desarrollar el concepto y contenido de su teoría del conocimiento en sí misma, pasando por su teoría de las ideas y de las cualidades. En la segunda sección se abordan los límites de la teoría del conocimiento en Locke, tratando de comprender cuál es el lugar de la fe y cuál es su relación con respecto a la razón. Asimismo, se realiza la lectura de su teoría ética y los fundamentos que la misma utiliza, así como la evolución que la misma sufrió desde sus ensayos de juventud hasta su madurez intelectual en el Ensayo sobre el entendimiento humano. En la tercera se procede a desarrollar un esbozo de los presupuestos de su teoría política. La misma que no será presentada en función a la ya clásica distinción entre el estado de naturaleza y el estado de sociedad civil, sino en función a sus axiomas básicos y la construcción teorética que se deriva de los mismos, es decir, la teoría de los derechos naturales. De tal forma se trabajarán dentro de esta sección, la concepción del derecho a la vida, a los bienes materiales y a la libertad. Teniendo en cuenta una lectura que evalué la relevancia de las premisas teológicas dentro de su obra política. En la última sección se presentan las correspondientes evaluaciones de la lectura política planteada en los Dos tratados sobre el gobierno civil en base a las premisas y requisitos epistemológicos que reclamase Locke para todo conocimiento humano. De esa manera, se puede reconocer el nivel de relación que guardaba una esfera de trabajo con la otra, además de poder identificar las razones que pudieron llevar al autor bajo análisis a publicar uno de los documentos fundacionales de la teoría política liberal.
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Cassadore, Edison Duane. "Re-Imagining Indians: The Counter-Hegemonic Represenations of Victor Masayesva and Chris Eyre." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195409.

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Contextualized within the discourse of United States nationalism, particularly the idea of Manifest Destiny in the nineteenth century, contemporary Native American representations from Victor Masayesva (Hopi) and Chris Eyre (Cheyenne/Arapaho) are counter-hegemonic since their representations interrogate stereotypes about Indians as "timeless," "props" who create "color background" for the dominant imagination. For example, in Imagining Indians (1992), Masayesva presents a range of interrogating viewpoints concerning the exploitation, commodification, and Hollywood set treatment of Native Americans. Here, the interviewees are not passive objects but active subjects who interrogate the dominant culture's assumptions about Indians. At the end of his film, images of various nineteenth-century tribal leaders constructed from George Catlin are destroyed through computer graphic manipulation. The camera's possessive gaze is also de-naturalized and rendered powerless. Chris Eyre uses a different representational tactic than Masayesva. Eyre's Skins (2002) seeks to build counter-hegemonic community through the love between two brothers. Despite rampant unemployment, poverty, and alcoholism, the brothers' love sustains them and their family and thus helps them to survive in the fractured community of Pine Ridge. Here, the Lakota philosophy concerning the cultural concepts of tisospaye ("your clan or family") and oyate ("your people") are significant since these ideas help the brothers to overcome personal struggles with alcoholism and the effects of the trickster figure of Iktomi. In the ultimate act of countering the magisterial gaze of U.S. nationalism, Skins ends with the cathartic throwing of blood-ret paint on George Washington in America's much-vaunted Mount Rushmore. In short, these contemporary representations from two key Native American filmmakers are counter-hegemonic since they assert agency in showing "get real" images of Indians and thus building community in the face of domination.
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Books on the topic "John Ford"

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Stowell, Peter. John Ford. Boston: Twayne Publishers, 1986.

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Bourget, Jean Loup. John Ford. Paris: Rivages, 1990.

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John Ford. Venezia: Marsilio, 2011.

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Anderson, Lindsay. John Ford. Paris: Hatier, 1985.

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Bogdanovich, Peter. John Ford. Paris: Edilig, 1988.

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John Ford. New York: Longman, 2002.

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Albano, Lucilla. John Ford. Venezia: Marsilio, 2011.

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White, Martin. John Ford. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3.

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John Ford. Boston: Twayne Publishers, 1986.

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Ford, John. John Ford: Interviews. Edited by Peary Gerald and Lefcourt Jenny. Jackson: University Press of Mississippi, 2001.

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Book chapters on the topic "John Ford"

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Rohleder, Rebekka. "Ford, John." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8535-1.

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White, Martin. "The Text and Early Performances." In John Ford, 1–9. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_1.

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White, Martin. "Commentary: the Play in Performance." In John Ford, 10–88. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_2.

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White, Martin. "Intellectual and Cultural Context." In John Ford, 89–105. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_3.

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White, Martin. "Key Productions and Performances." In John Ford, 106–21. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_4.

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White, Martin. "The Play on Screen." In John Ford, 122–32. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_5.

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White, Martin. "Critical Assessments." In John Ford, 133–49. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-00607-3_6.

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Huebert, Ronald. "Endless Dreams: John Ford." In The Performance of Pleasure in English Renaissance Drama, 156–75. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230503168_8.

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O’Pray, Michael. "Carving Values and John Ford." In Film, Form and Phantasy, 157–73. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230535770_8.

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Pfister, Manfred, and Rebekka Rohleder. "Ford, John: The Witch of Edmonton." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8537-1.

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Conference papers on the topic "John Ford"

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Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.

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In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.
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Huff, Howard R. "John Bardeen and transistor physics." In The 2000 international conference on characterization and metrology for ULSI technology. AIP, 2001. http://dx.doi.org/10.1063/1.1354371.

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HOUGH, JAMES. "THE SEARCH FOR GRAVITATIONAL WAVES – JAN'S INFLUENCE IN THE FIELD." In In Honor of John Hall on the Occasion of His 70th Birthday - The John Hall Symposium. WORLD SCIENTIFIC, 2006. http://dx.doi.org/10.1142/9789812773845_0006.

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"CV for John H. Lau." In 2007 8th International Conference on Electronic Packaging Technology. IEEE, 2007. http://dx.doi.org/10.1109/icept.2007.4441557.

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Hashmi, Imad, Muhammad Abdul Qadir, and Muhib-Ur Rehman. "A Hybrid UDP-TCP (RHUT) Protocol for Data Replication." In 2006 John Vincent Atanasoff International Symposium on Modern Computing. IEEE, 2006. http://dx.doi.org/10.1109/jva.2006.1.

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Jeliazkova, Nina, Luchesar Iliev, and Vedrin Jeliazkov. "UPerfsonarUI - a Standalone Graphical User Interface for Querying perfSONAR Services." In 2006 John Vincent Atanasoff International Symposium on Modern Computing. IEEE, 2006. http://dx.doi.org/10.1109/jva.2006.52.

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Farr, Marvin K. "Electronic Controls for John Deere Diesel Engines." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1989. http://dx.doi.org/10.4271/890391.

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Willman, Scott, Gregory Keech, John Grotelueschen, and Michele Sciolette. "The stereoscopic conversion pipeline for John Carter." In ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2343045.2343073.

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"Conference Proceedings of the 2020-2021 John B. Graham Student Research Symposium." In 2020-2021 John B. Graham Student Research Symposium. CJIM Publishing Group, 2021. http://dx.doi.org/10.47265/cjim.v1i2.1318.

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Established in 1987, the John B. Graham Medical Student Research Society recognizes and promotes the research efforts of the medical student body at the University of North Carolina School of Medicine in basic science, public health, and clinical sciences. Throughout the year, members exchange ideas and share their experiences about conducting research. In addition, the Society serves to encourage collaboration with faculty to promote productive research opportunities for students. The following conference proceedings represent abstracts accepted for presentation at the 2020-2021 Student Research Day.
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Gustafson, John L. "The Quest for Linear Equation Solvers and the Invention of Electronic Digital Computing." In 2006 John Vincent Atanasoff International Symposium on Modern Computing. IEEE, 2006. http://dx.doi.org/10.1109/jva.2006.50.

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Reports on the topic "John Ford"

1

Vandepol, Richard D. Modifying a John Deere 9410 Combine for Plot Harvest. Ames: Iowa State University, Digital Repository, 2009. http://dx.doi.org/10.31274/farmprogressreports-180814-1806.

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KellerLynn, Katie. John Muir National Historic Site: Geologic resources inventory report. National Park Service, December 2021. http://dx.doi.org/10.36967/nrr-2288497.

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Geologic Resources Inventory reports provide information and resources to help park managers make decisions for visitor safety, planning and protection of infrastructure, and preservation of natural and cultural resources. Information in GRI reports may also be useful for interpretation. This report synthesizes discussions from a scoping meeting held in 2007 and a follow-up conference call in 2020. Chapters of this report discuss the geologic heritage, geologic features and processes, and geologic resource management issues of John Muir National Historic Site. Guidance for resource management and information about the previously completed GRI map data is also provided. A GRI map poster (separate product) illustrate the GRI map data. Geologic features, processes, and resource management issues identified include the Great Valley sequence, an unconformity, the Martinez Formation, the San Andreas Fault, an anticline, fluvial features and processes, erosion, flooding, slope movements, earthquakes, climate change, and paleontological resources.
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Stubblefield, Robert. North Fork John Day River Watershed Program : FY 1998 Habitat Projects. Office of Scientific and Technical Information (OSTI), December 1999. http://dx.doi.org/10.2172/773342.

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Barnett, J. P., D. A. Streett, and S. R. Blomquist. Town ants: the beginning of John Moser’s remarkable search for knowledge. Asheville, NC: U.S. Department of Agriculture, Forest Service, Southern Research Station, 2016. http://dx.doi.org/10.2737/srs-gtr-182.

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Barnett, J. P., D. A. Streett, and S. R. Blomquist. Town ants: the beginning of John Moser’s remarkable search for knowledge. Asheville, NC: U.S. Department of Agriculture, Forest Service, Southern Research Station, 2016. http://dx.doi.org/10.2737/srs-gtr-182.

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Sanchez, John A. North Fork John Day Dredge Tailings Restoration Project Final Report 1997-2002. Office of Scientific and Technical Information (OSTI), December 2002. http://dx.doi.org/10.2172/885185.

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Cochran, Brian, and Brent Smith. Oxbow Conservation Area; Middle Fork John Day River, Annual Report 2002-2003. Office of Scientific and Technical Information (OSTI), July 2003. http://dx.doi.org/10.2172/962978.

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Robertson, Shaun, Brent Smith, and Brian Cochran. Oxbow Conservation Area; Middle Fork John Day River, Annual Report 2001-2002. Office of Scientific and Technical Information (OSTI), April 2003. http://dx.doi.org/10.2172/963044.

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Cochran, Brian. Oxbow Conservation Area; Middle Fork John Day River, Annual Report 2003-2004. Office of Scientific and Technical Information (OSTI), February 2004. http://dx.doi.org/10.2172/963088.

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Visser, R., H. Kao, B. Smith, C. Goerzen, B. Kontou, R. M. H. Dokht, J. Hutchinson, F. Tan, and A. Babaie Mahani. A comprehensive earthquake catalogue for the Fort St. John-Dawson Creek region, British Columbia, 2017-2018. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2020. http://dx.doi.org/10.4095/326015.

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