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This engaging book chronicles the first classes on the art and industry of cinema and the colorful pioneers who taught, wrote, and advocated on behalf of the new art form. Using extensive archival research, Dana Polan looks at, for example, Columbia University's early classes on Photoplay Composition; lectures at the New School for Social Research by famed movie historian Terry Ramsaye; the film industry's sponsorship of a business course on film at Harvard; and attempts by the Academy of Motion Picture Arts and Sciences to create programs of professionalized education at the University of Southern California, Stanford, and elsewhere. Polan examines a wide range of thinkers who engaged with the new art of film, from Marxist Harry Alan Potamkin to sociologist Frederic Thrasher to Great Books advocates Mortimer Adler and Mark Van Doren.
Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Study and teaching --- History and criticism --- Motion picture industry. --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Cinéma --- Etude et enseignement --- Motion pictures - Study and teaching - United States. --- academy of motion picture arts and sciences. --- american cinema. --- american film history. --- art of cinema. --- business course on film. --- cinema. --- film industry. --- film studies. --- film. --- frederic thrasher. --- great books advocates. --- harry alan potamkin. --- historical. --- history of film studies. --- mark van doren. --- marxism. --- mortimer adler. --- movie studies. --- movies. --- new school for social research. --- photoplay composition. --- retrospective. --- sociology. --- terry ramsaye. --- united states of america.
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James Stewart once said, "For John Ford, there was no need for dialogue. The music said it all." This lively, accessible study is the first comprehensive analysis of Ford's use of music in his iconic westerns. Encompassing a variety of critical approaches and incorporating original archival research, Kathryn Kalinak explores the director's oft-noted predilection for American folk song, hymnody, and period music. What she finds is that Ford used music as more than a stylistic gesture. In fascinating discussions of Ford's westerns-from silent-era features such as Straight Shooting and The Iron Horse to classics of the sound era such as My Darling Clementine and The Searchers -Kalinak describes how the director exploited music, and especially song, in defining the geographical and ideological space of the American West.
Motion picture music --- History and criticism. --- Ford, John, --- O'Feeney, Sean, --- O'Fearna, Sean Aloysius, --- O'Fienne, Sean Aloysius, --- Feeney, John Martin, --- Ford, Jack, --- Criticism and interpretation. --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism --- Ford, John --- O'Feeney, Sean --- O'Fearna, Sean Aloysius --- O'Fienne, Sean Aloysius --- Feeney, John Martin --- Ford, Jack --- 20th century american film. --- american cinema. --- american film director. --- american filmmakers. --- american folk music. --- american folk songs. --- american west. --- biographical. --- cinema. --- film criticism. --- film studies. --- film. --- hollywood. --- hymnody. --- john ford. --- movie studies. --- movie. --- music in film. --- music. --- my darling clementine. --- old west. --- period music. --- stagecoach. --- the iron horse. --- the man who shot liberty valance. --- the searchers. --- western films. --- western united states. --- westerns.
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