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John Ford at Work: Production Histories 1927-1939 explores the evolution of John Ford's career in the Hollywood studio system of the 1930s as the system itself changed in response to the coming of sound and the business downtown instigated by the Depression. Based upon a decade of research utilizing the studio files of Twentieth Century-Fox, RKO and Samuel Goldwyn, it delineates the director's collaborations with the producers, screen- writers, actors and cinematographers that had the most impact on his production practices. It traces the major literary, cinematic and musical sources from which he drew. It considers relevant changes in film technology and seeks to explain how they were incorporated into his style. Films analyzed include 4 Sons, The Black Watch, Arrowsmith, Air Mail, The Lost Patrol, The Informer, Judge Priest, Steamboat Round the Bend, The Prisoner of Shark Island, Wee Willie Winkie, Stagecoach and Young Mr. Lincoln.
Lea Jacobs, professor emeritus, University of Wisconsin-Madison, taught film history and aesthetics. Her books include: The Wages of Sin: Censorship and the Fallen Woman Film, Theatre to Cinema (written with Ben Brewster) and Film Rhythm After Sound: Technology, Music and Performance.
IntroductionPART 1 FORD'S TRANSITION TO SOUND, 1927-1932Chapter 1 Ford and Murnau at Fox-Studio Expansion-Ford and MurnauChapter 2 Transformed by Sound-Making the Early Sound Films-The Influence of What Price Glory-Scoring with Songs in The Black Watch-Multiple Camera Shooting and the Long Take in ArrowsmithPART 2 BETWEEN FOX AND RKO, 1931-1935Chapter 3 Forced to Freelance-Out of Fox-Air MailChapter 4 Ford at RKO-New Deals at Fox and RKO-The Lost Patrol-Adapting O'Flaherty's The Informer-Stylistic Experimentation in The InformerChapter 5 Fox Before Zanuck-Negotiating the Fox Production Sector After 1932: Doctor Bull and Judge Priest-Steamboat Round the Bend-Will Rogers and Ford's Sound StylePART 3 TWENTIETH CENTURY-FOXChapter 6 Zanuck and Ford-Zanuck Takes Over-The Zanuck/Ford Contract Negotiations-Script Development and Post-production Editing in The Prisoner of Shark Island-Ford's Contributions to The Prisoner of Shark IslandChapter 7 Wee Willie Winkie-Script Development-Wee Willie Winkie: from Script to FilmPART 4 ANNUS MIRABILISChapter 8 Stagecoach-The United Artists Connection-Story Structure-Script Revisions and Songs-Ford and Glennon on Location-Ford and Glennon on SetChapter 9 Young Mr Lincoln-Story Sources and Structure-Problems of Exposition and Emphasis-New Salem: The River-Springfield: The Mob and the Dance-The TrialAfterword The Director's ShareBibliographyIndex
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