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Journal articles on the topic 'John Ford'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Patin, Thomas, and Jennifer McLerran. "Navajo Weavings in John Ford Westerns." International Journal of Semiotics and Visual Rhetoric 2, no. 1 (January 2018): 73–90. http://dx.doi.org/10.4018/ijsvr.2018010105.

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This article describes how although placed in the periphery or backgrounds of many scenes, Navajo weavings are central to the presentation of the spectacle of wilderness, savagery, warfare, heroism, and salvation in many of John Ford's westerns. In this article, the authors examine specific examples of visual rhetoric in two of Ford's westerns: Stagecoach and The Searchers. They articulate how Navajo weavings constitute a strategic component of set designs and have consequences for viewers' expectations and understandings of these films. These weavings are key elements of a powerful visual rhetoric in Ford's films.
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12

Spisak, April. "The Cipher by John C. Ford." Bulletin of the Center for Children's Books 68, no. 7 (2015): 353–54. http://dx.doi.org/10.1353/bcc.2015.0172.

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13

Gallagher, Tag. "Review: John Ford by Peter Stowell." Film Quarterly 40, no. 4 (1987): 32–33. http://dx.doi.org/10.2307/1212246.

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14

Parker, Kenneth L. "Tribute: John Thomas Ford, C.S.C. (1932–2021)." Newman Studies Journal 19, no. 1 (June 2022): 101–3. http://dx.doi.org/10.1353/nsj.2022.0014.

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15

Braun, Carlos Rodríguez. "Capitalism in Six Westerns by John Ford." Journal of Economic Education 42, no. 2 (April 6, 2011): 181–94. http://dx.doi.org/10.1080/00220485.2011.555721.

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16

HOPKINS, LISA. "JOHN FORD AND THE EARL OF ANTRIM." Notes and Queries 47, no. 4 (December 1, 2000): 485–86. http://dx.doi.org/10.1093/nq/47-4-485.

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17

HOPKINS, LISA. "JOHN FORD AND THE EARL OF ANTRIM." Notes and Queries 47, no. 4 (2000): 485–86. http://dx.doi.org/10.1093/nq/47.4.485.

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18

Brunkhorst, Hauke. "Liberty Valance, John Ford und Friedrich Schiller." Leviathan 34, no. 1 (March 2006): 3–14. http://dx.doi.org/10.1007/s11578-006-0001-3.

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19

Erisman, Fred. "John Grisham's Ford County: Yoknapatawpha County Updated." Journal of American Culture 43, no. 2 (June 2020): 145–55. http://dx.doi.org/10.1111/jacc.13162.

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20

reviewers, Various. "Book reviews." Notes and Records of the Royal Society of London 55, no. 3 (September 22, 2001): 491–97. http://dx.doi.org/10.1098/rsnr.2001.0159.

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Six book reviews in the September 2001 issue of Notes and Records . John Archibald Wheeler and Kenneth Ford, Geons, black holes and quantum foam—a life in physics . Jon Parkin, Science, religion and politics in Restoration England: Richard Cumberland's De Legibus Naturae. Robert A. Hinde, Why gods persist: a scientific approach to religion . John Campbell, Rutherford, scientist supreme . Jean Medawar and David A. Pyke, Hitler's gift. Scientists who fled Nazi Germany . Helge Kragh, The quantum generations: a history of physics in the twentieth century .
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21

Chirica, Irina. "The Iconography of John Ford's Westerns." Linguaculture 11, no. 2 (December 10, 2020): 113–24. http://dx.doi.org/10.47743/lincu-2020-2-0176.

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This paper follows the way in which the filmography of the movie director John Ford presents cultural icons. We discuss the symbolism of these images and their cultural significance in the larger context of the West as a cultural area and American culture in general. Ford’s sensibility had one foot in 19th century American thought and feeling, and the other in the 20th century. We argue in favor of the idea that John Ford is a myth-builder and a visual image-maker whose contribution provided the foundation of a romantic, heroic America and the forging of American national character.
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22

Prince, Stephen. "John Ford: Hollywood's Old Master Ronald L. Davis." Film Quarterly 50, no. 2 (December 1996): 62. http://dx.doi.org/10.2307/1213435.

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23

Desrichard, Yves. "Joseph McBride, À la recherche de John Ford." 1895, no. 57 (April 1, 2009): 190–94. http://dx.doi.org/10.4000/1895.4040.

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24

Prince, Stephen. ": John Ford: Hollywood's Old Master . Ronald L. Davis." Film Quarterly 50, no. 2 (December 1996): 62. http://dx.doi.org/10.1525/fq.1996.50.2.04a00190.

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25

Aleiss, Angela. "A Race Divided: The Indian Westerns of John Ford." American Indian Culture and Research Journal 18, no. 3 (January 1, 1994): 167–86. http://dx.doi.org/10.17953/aicr.18.3.e82817h037185828.

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26

Bonke, Michael. "Myth and Law in the Films of John Ford." Journal of Law and Society 28, no. 1 (March 2001): 47–63. http://dx.doi.org/10.1111/1467-6478.00178.

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27

Hopkins, Lisa. "Speaking Sweat: Emblems in the Plays of John Ford." Comparative Drama 29, no. 1 (1995): 133–46. http://dx.doi.org/10.1353/cdr.1995.0020.

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28

Díaz-Cuesta, José. "El Color Púrpura: Alice Walker, Steven Spielberg, John Ford." Revista de Comunicación de la SEECI, no. 3 (March 15, 2005): 1. http://dx.doi.org/10.15198/seeci.1999.3.1-24.

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29

Gornet, Cécile. "The Iron Horse (John Ford, 1924) : un film pionnier." Études anglaises 70, no. 3 (2017): 279. http://dx.doi.org/10.3917/etan.703.0279.

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30

Suppia, Alfredo, and Luiz Felipe Rocha Baute. "O herói do western em panorama: A persistência de John Wayne." Revista ECO-Pós 22, no. 1 (June 21, 2019): 176–96. http://dx.doi.org/10.29146/eco-pos.v22i1.23767.

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Visamos a analisar as transformações do herói western através do estudo dos personagens de John Wayne. Comumente associado ao gênero, o ator estadunidense interpretou personagens icônicos em diversas narrativas de faroeste e tornou-se uma figura central para a construção do arquétipo do protagonista do gênero. Em um diálogo entre forma e conteúdo, e em paralelo ao desenvolvimento do gênero, destacamos performances que foram, ao mesmo tempo, fundantes de uma tradição e exemplares de suas subsequentes transformações: Ringo Kid em No tempo das diligências (Stagecoach, dir. John Ford, 1939), Ethan Edwards em Rastros de ódio (The Searchers, dir. John Ford, 1954) e Rooster Cogburn em Bravura indômita (True grit, dir. Henry Hathaway, 1969). Tais performances foram marcantes na progressão histórica do western e tornaram Wayne uma figura de destaque no cinema hollywoodiano. Entendemos suas performances como intrínsecas à construção do gênero, cuja influência na composição fílmica e concepção de personagens consolidou-se em um símbolo do western em seu período de maior sucesso econômico e de crítica. Palavras-chave: John Wayne; Estudos Atorais; Gêneros Cinematográficos; western.
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31

Montana, Andrew. "The ‘Prosaic’ and ‘Poetic’: John Mather's and John Ford Paterson's Decorative and Fine Art." Australian and New Zealand Journal of Art 18, no. 1 (January 2, 2018): 31–52. http://dx.doi.org/10.1080/14434318.2018.1481329.

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32

Lanuza Avello, Dra Ana, and Dr Francisco Cabezuelo Lorenzo. "Valores familiares y comunitarios en el cine de John Ford." Comunicación y Hombre, no. 14 (January 14, 2018): 203–16. http://dx.doi.org/10.32466/eufv-cyh.2018.14.283.203-216.

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Esta investigación aborda la filmografía de John Ford para profundizar en la visión que el director tenía de dos de las realidades ambitales que con más profusión retrató a lo largo de su obra: la familia y el ejército. Tras una contextualización biográfica, histórica y social, y un acercamiento a la visión del ejército y la familia que Ford plasma en su cine, se aborda el análisis antropológico de la obra Río Grande (1950). Para el desarrollo de este estudio se hace uso de la metodología quintasiana, que se aplica a tres diálogos clave de la cinta.
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33

HUTSON, RICHARD. "John Ford's My Darling Clementine (1946)." Representations 84, no. 1 (November 1, 2003): 200–212. http://dx.doi.org/10.1525/rep.2003.84.1.200.

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ABSTRACT In 1946, John Ford made a film about a legend of law and order in the American West 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 Earp was designed to alleviate anxiety about the irrelevance of the past for the new era.
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34

Field, Corey, John Ford, William Faulkner, Charles Ives, and Joseph W. Reed. "Three American Originals: John Ford, William Faulkner & Charles Ives." Notes 42, no. 4 (June 1986): 783. http://dx.doi.org/10.2307/897794.

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35

Toplin, Robert Brent. "Reviews of Books:Searching for John Ford: A Life Joseph McBride." American Historical Review 107, no. 3 (June 2002): 900–901. http://dx.doi.org/10.1086/532559.

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36

Busby, Mark. "John Ford: The Man and His Films by Tag Gallagher." Western American Literature 22, no. 2 (1987): 186–87. http://dx.doi.org/10.1353/wal.1987.0081.

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37

Garrobo Robles, Raúl. "El otro John Ford. Una arqueología del cine social fordiano." Eikasía Revista de Filosofía, no. 112 (January 4, 2023): 73–134. http://dx.doi.org/10.57027/eikasia.112.434.

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En tanto que formación discursiva, consideramos que el cine social fordiano tiene en el humanismo socialista y marxiano su a priori histórico, esto es, su condición velada de posibilidad, en especial en el socialismo irlandés del siglo XIX y comienzos del XX, impulsado por figuras históricas de la talla de Theobald Wolfe Tone, el feniano James Stephens, el «Gran Jim» Larkin y el irreemplazable James Connolly. Sin embargo, fundándose en una voluntad de verdad por la que la libertad que conlleva la emancipación económica se ve semiológicamente desplazada hacia una concepción de la libertad como deseo, el discurso reaccionario ha procurado inventariar un cine social fordiano alternativo, esto es, ha pretendido inventar otro John Ford. En el trasfondo de esta confluencia de fuerzas, localizamos la disputa por el control del discurso con el que se nombra y puede ser comunicada la democracia. Tal es lo que sucede en la obra ensayística del hibernómano Antonio Rivero Taravillo, cuya proximidad discursiva con el falangismo lo empuja a inventariar un cine social fordiano desproletarizado en el que se proceden a excluir del orden del discurso películas como El arado y las estrellas y en donde se llega incluso a cuestionar el probado marxismo de James Connolly.
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38

Woodwark, K. Cara. "Meeting Review: Intelligent Systems for Molecular Biology 2002 (ISMB02)." Comparative and Functional Genomics 3, no. 6 (2002): 484–86. http://dx.doi.org/10.1002/cfg.215.

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This report profiles the keynote talks given at ISMB02 in Edmonton, Canada, by Michael Ashburner, Barry Honig, Isidore Rigoutsos, Ford Doolittle, Stephen Altschul, Terry Gaasterland, John Reinitz, and the Overton Prize winner, David Baker.
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39

Xavier, Ismail. "John ford e os heróis da transição no imaginário do western." Novos Estudos - CEBRAP, no. 100 (November 2014): 171–92. http://dx.doi.org/10.1590/s0101-330020140003000010.

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O artigo analisa o percurso do western de John Ford a partir de No tempo das diligências (1939), Rastros de ódio (1956) e O homem que matou o facínora (1962), obras que compõem uma trilogia voltada para distintas etapas da conquista do Oeste, ensejando a discussão sobre a relação do cineasta com a mitologia do gênero; de filme a filme, o estatuto do herói se desloca em consonância com uma crescente reflexividade que interroga os pressupostos da formação nacional.
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40

Freedman, Carl. "Versions of the American Imperium in Three Westerns by John Ford." Film International 3, no. 6 (November 2005): 14–25. http://dx.doi.org/10.1386/fiin.3.6.14.

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41

HOPKINS, LISA. "JOHN FORD AND CHARLES ALEYN: TWO 1630S HISTORIES OF HENRY VII." Notes and Queries 47, no. 4 (December 1, 2000): 483–85. http://dx.doi.org/10.1093/nq/47-4-483.

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42

HOPKINS, LISA. "JOHN FORD AND CHARLES ALEYN: TWO 1630S HISTORIES OF HENRY VII." Notes and Queries 47, no. 4 (2000): 483–85. http://dx.doi.org/10.1093/nq/47.4.483.

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43

Leighton, Patricia. "John Ford, Mary Hughes and Karen May, Education Law and Practice." Law Teacher 44, no. 3 (November 23, 2010): 407–9. http://dx.doi.org/10.1080/03069400.2010.527135.

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44

Flores, Luís. "Mil e uma noites na cidade industrial." Significação: Revista de Cultura Audiovisual 47, no. 53 (May 4, 2020): 90–109. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.162175.

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Arábia (2017) pode ser situado no âmbito de uma série de incursões cinematográficas aos substratos da realidade, tanto pelo prisma do documentário quanto pelos caminhos da ficção. À primeira vista, a obra parece responder às aparições históricas da figura do trabalhador no cinema brasileiro. Mas há uma região menos nítida de repercussões, com artistas que adaptaram as categorias do realismo a seus propósitos particulares. É o caso, por exemplo, de John Ford e John Huston. Neste artigo, olharemos para as imagens de Arábia no limiar dessas duas zonas de construção estética.
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45

Burnett, Linda Avril. "Re-Reading John Ford’s ’ Tis Pity She’s a Whore, Re-Writing Tragedy: Margaret Cavendish’s The Unnatural Tragedy." Renaissance and Reformation 34, no. 4 (September 20, 2012): 85–111. http://dx.doi.org/10.33137/rr.v34i4.18652.

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Dans cet article, l’auteur développe et appuie la revendication d’originalité de Margaret Cavendish. L’auteur présente The Unnatural Tragedy (1662), une relecture de ’Tis Pity She’s a Whore (1633), comme faisant partie de la tradition des femmes écrivaines dans laquelle deux textes sont publiés dans un seul volume : le premier créatif et le deuxième critique. L’analyse montre que la façon dont Cavendish utilise cette forme d’appropriation rend The Unnatural Tragedy plus proche de ce que nous nommons une parodie, que de l’imitation propre à la Renaissance. L’auteur montre également que la pièce de Cavendish porte deux voix : une première critique et une deuxième qui rend hommage à la pièce de Ford. The Unnatural Tragedy de Cavendish traite de l’association que Ford fait entre le discours féminin et la transgression sexuelle dans ’Tis Pity She’s a Whore (1633). Simultanément, la pièce de Cavendish est un hommage à la tentative de Ford de remettre en question l’idéologie d’un genre dans lequel les notions d’amour romantique et d’honneur masculin sont privilégiées. Dans sa pièce, Cavendish retravaille celle de Ford afin de déstabiliser à la fois la tragédie et ce qu’elle représente dans la société patriarcale de Cavendish, et ce faisant, s’adresse simultanément à Aristote et Ford.
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46

Koltai, M. Gábor. "A reneszánsz színpadi horror világképe." Theatron 14, no. 2 (2020): 56–69. http://dx.doi.org/10.55502/the.2020.2.56.

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This paper examines how the epistemological crisis born of the destabilisation of the old word order reshaped early Modern English theatre, and how its reaction to the threatening chaos led to the emergence of the genre ‘revenge tragedy’ – although ‘metaphysical horror’ would be a more accurate moniker. Three exceptionally important representatives of this unique genre, Thomas Middleton, John Webster and John Ford, all had a different way of processing the foundational cultural experiences of the era (in the fields of theology, anatomy, astrology, painting, politics and gender,) and elevating them to become a dramaturgical organising principle.
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47

Wladaver-Morgan, Susan, and Kathryn Kalinak. "How the West Was Sung: Music in the Westerns of John Ford." Western Historical Quarterly 39, no. 4 (December 1, 2008): 517. http://dx.doi.org/10.2307/25443800.

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48

Hopkins, Lisa. "Ladies' Trials: Women and the Law in Three Plays of John Ford." Cahiers Élisabéthains: A Journal of English Renaissance Studies 56, no. 1 (October 1999): 49–64. http://dx.doi.org/10.7227/ce.56.1.6.

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49

Burridge, Richard A. "David F. Ford, The Gospel of John: A Theological Commentary." Theology 125, no. 3 (May 2022): 221–22. http://dx.doi.org/10.1177/0040571x221097552g.

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50

Buscombe, E. "How the West Was Sung: Music in the Westerns of John Ford." Screen 49, no. 3 (September 1, 2008): 374–76. http://dx.doi.org/10.1093/screen/hjn044.

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