Download How the West Was Sung: Music in the Westerns of John Ford by Kathryn Kalinak PDF

By Kathryn Kalinak

James Stewart as soon as stated, "For John Ford, there has been little need for discussion. The tune acknowledged it all." This energetic, obtainable research is the 1st accomplished research of Ford's use of tune in his iconic westerns. Encompassing various severe methods and incorporating unique archival examine, Kathryn Kalinak explores the director's oft-noted predilection for American people tune, hymnody, and interval tune. What she unearths is that Ford used track as greater than a stylistic gesture. In attention-grabbing discussions of Ford's westerns--from silent-era gains akin to immediately taking pictures and The Iron Horse to classics of the sound period resembling My Darling Clementine and The Searchers --Kalinak describes how the director exploited track, and particularly track, in defining the geographical and ideological house of the yankee West.

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Extra info for How the West Was Sung: Music in the Westerns of John Ford

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2 It would be left to later decades to point out that the transcontinental railroad not only displaced the Native Americans3 whose tribal lands the rails intersected but destroyed their hunting grounds and the vast herds of buffalo that inhabited them. The railroad exploited its labor force—largely freed slaves and immigrants, including thousands of Chinese imported for the arduous work of the Central Pacific and abandoned when the work was complete. Pneumonia, poisoning, drowning, and sun- and heatstroke beset the laborers.

Chapter 2 Hearing the Music in John Ford’s Silents The Iron Horse and 3 Bad Men It may seem rather odd to begin the analysis of music in John Ford westerns with silent examples. But as I note in chapter 1, Ford’s musical aesthetic was forged in the silent era and tempered in the early years of sound. Thus the two surviving feature-length westerns generally regarded as Ford’s silent masterpieces, The Iron Horse and 3 Bad Men, merit more than passing mention. I am interested in the privileging of songs in these westerns, the production numbers—their function in terms of the construction of narrative, character, and theme, and their impact on the ideological undercurrents of these films.

Settling down with her three rescuers, Lee awaits the day of the land rush with a map marking gold deposits. Genuinely caring for Lee and concerned about her welfare, the three men go husband hunting, after first ascertaining Hearing the Music in John Ford’s Silents 41 that none of them fit the bill. They settle on Dan O’Malley, a charming Irishman (George O’Brien, now an established matinee idol), a handsome young settler looking for work. A subplot involving Bull’s sister, Millie (Priscilla Bonner), seduced and abandoned by the town’s sexual predator, Layne Hunter (Lou Tellegen), its corrupt sheriff, serves as a warning of the dangers awaiting single women on the frontier and underscores the necessity of finding a husband.

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