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Crossroads Film and Television Program List
Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge. -
John Ford Birth Name: Sean Aloysius O'feeney Director, Producer
John Ford Birth name: Sean Aloysius O'Feeney Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. -
Barely a Month Into the COVID-19 Quarantine, Which Forced
Not Lacking in Direction DGA members reflect on how they have stayed productive during Barely a month into the What were you doing when the the COVID-19 COVID-19 quarantine, shutdown began? quarantine which forced productions Ava DuVernay (When They See Us, to shut down worldwide Queen Sugar, Selma): I was on the set of a beginning in mid-March, DGA Quarterly massive DC Comics pilot I am directing for HBO Max (DMZ). We were three surveyed directors on how they’d been days from wrap. We abbreviated the schedule to one coping. And while these helmers continued remaining day and pressed through. We are now posting remotely. Turns out the fastest internet in my house is to work in various ways, they also in my laundry room, so I edit at a little table close to the discovered that time could be on their side, dryer! Another show I direct and created, Queen Sugar, was in post in L.A. and principal photography in New allowing them to indulge in the kinds of Orleans. We walked away from both that Friday. I think activities that usually took a back seat to of my crew every day and how they are making it. My their perpetually busy schedules. Here are heart aches for all who’ve lost work. some of their responses: Craig Gillespie (I, Tonya; Lars and the Real Girl; The 24 DGA QUARTERLY PHOTOS: (TOP ROW) COURTESY OF THE DIRECTORS United States of Tara): I was in post on Disney’s Cruella. It HOME FRONT: prepping a four-hour limited series Left to right: was just before we showed the director’s cut. -
Quiet Man by Scott Allen Nollen
The Quiet Man By Scott Allen Nollen During pre-production on his wartime tribute “They Were Expenda- ble” (1945), John Ford learned that Maureen O’Hara was starring in the swashbuckler “The Spanish Main” at RKO. O’Hara knew that Ford had re- turned from military service in Eu- rope to make a feature film, but had no idea why he wanted to see her at the studio. She soon learned that he wanted her to play the female lead in a film based on a Maurice Walsh sto- ry called “The Quiet Man,” to be shot on location in Ireland. Ford previously had dropped hints about making “a picture in Ireland,” but O’Hara had considered the re- Newlyweds Sean Thornton (John Wayne) and the former Mary Kate Danaher (Maureen O’Hara) in marks wishful thinking. Now she front of their cottage, White O' Mornin.’ Courtesy Library of Congress knew the property, and her agreement to star in the film was sealed with a handshake. porting characters were Father Peter Lonergan (Ward Bond), Reverend Cyril Playfair (Arthur Shields) and Ford eventually hired “How Green Was My Valley” author Michaeleen Og Flynn (Barry Fitzgerald). Ford and Nugent Richard Llewellyn to expand “The Quiet Man” to novella also added a crucial plot element: Sean’s refusal to fight length. Combined with the notes he had been compiling Will due to his guilt for having killed a fellow boxer in the for the past 15 years, Ford was sure he’d have plenty of ring, the impetus for abandoning America for the serenity material from which a screenplay could be adapted. -
The War Bond Story
THE WAR BOND STORY No one is better qualified to write a history of the War Bond program than Larry Olney. He was one of a very few career Treasury officials who were brought in on the early planning of the Defense Bond program in 1941. He served as Associate Field Director during the entire war period. From this vantage point, being a party to both planning and execution, he is in an unusual position to document not only what happened, but why. This work is an important contribution to the history of the financing of the Second World War. The Savings Bonds Division wishes to thank Mr. Olney for making this manuscript available for publication. Elmer L. Rustad National Director U. S. Savings Bonds Division December 10, 1971 PREFACE This is a story of the War Bond program during the war years of 1941 through 1945. It is a story of four men who planned, organized and operated the most successful promotion, advertising and government financing program this world has ever known -- Secretary of Treasury Henry Morgenthau, Jr., Harold Graves, Assistant to the Secretary, Dr. Peter Odegard, professor at Amherst College and Theodore (~ed)Gamble, businessman, Portland, Oregon. It is also a story of thousands of patriotic American volunteers who made the program succeed. These volunteers did not ask what.their government could do for them -- they did what they could for their governqent. Never question the fact that when the "chips are down" and this country is in danger, the people of the United Stc?.tes will do their part in any worthwhile government program, if responsible leaders tell them what they want done. -
The John Ford Collection
The John Ford Collection The John Ford collection of manuscripts at the Lilly Library offers a view of Ford's entire motion picture career, from the silent era to his last movie in 1966. The material in this collection was acquired from Ford's children and grandson after his death . It was used extensively, but not exhaustively, by Ford's grandson Dan Ford in writing his biography Pappy: The Life of John Ford and includes much of the research material accumulated by Dan Ford for his book. The collection covers the years from 1906 to 1976 and contains approximately seven thousand items, of which twenty-five hundred are correspondence. John Ford was born Sean Aloysius Feeney in Portland, Maine, in 1895. He changed his name after joining his older brother Fran cis, who had taken the name of Ford, in Hollywood in 1913. He began his career as a prop man, stunt man, and actor, moving to directing in 1917 with a two-reeler entitled The Tornado. He spent the rest of his life directing films, through the transition from silents to sound, making over 130 in all and winning six Academy Awards. From 1917 until 1930 Ford directed at least 66 films, a great many of which were westerns starring the cowboy actor Harry Carey. Early in his career Ford was most often associated with Universal Studio but by the early twenties he was under contract to the Fox Film Corporation (later the Twentieth Century-Fox Film Corporation) until after World War II. It was at Fox that he had his first major success, with The Iron Horse in 1924. -
The Two Faces of John Ford
84 The two faces of John Ford The Informer (1935) , The Prisoner of Shark Island, (1936), Stagecoach, Young Mr Lincoln, Drums Along the Mohawk (all 1939), The Grapes of Wrath, The Long Voyage Home (both 1940), My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), Wagon Master (1950), The Sun Shines Bright (1953), The Searchers (1956), The Horse Soldiers (1959), and The Man Who Shot Liberty Valance (1962) Ford will make one film which attacks the American equivalent of fascism – and then the next with a near-fascist message. He’ll make an open-eyed, truthful film one year, and, the next year, one awash with sentimentality and mendacity. For sentimentality and mendacity, The Informer is hard to beat. The problem is, that it’s also a riveting film to watch – in part because of the excellence of its photography (by Joseph H. August, later to photograph The Devil and Daniel Webster ), in part because of the barefaced audacity of its mendacious sentiments. In part, also, because of the way our jaws drop in wonder at the question, just how bad does a performance have to be before it’s deemed unworthy of an Oscar? Victor McLaglen is so clumsy as the film’s halfwit protagonist, he makes Lon Chaney jr.’s turn as Lenny in Of Mice and Men look like a Rembrandt. As with other cases of miscasting, the foolish argument seems to be that having the actor adrift gives a good idea of the character’s disorientation. 1 Betraying his best friend to the Black and Tans for £20, so that his prostitute girlfriend can buy a ticket to America (and happiness), McLaglen has spent £11 of it on booze and unsolicited charity before he knows what’s hit him. -
"What Makes a Man to Wander?": the Searchers As a Western Odyssey Kirsten Day Augustana College - Rock Island
Augustana College Augustana Digital Commons Classics: Faculty Scholarship & Creative Works Classics Winter 2008 "What Makes a Man to Wander?": The Searchers as a Western Odyssey Kirsten Day Augustana College - Rock Island Follow this and additional works at: http://digitalcommons.augustana.edu/clasfaculty Part of the Classics Commons Augustana Digital Commons Citation Day, Kirsten. ""What Makes a Man to Wander?": The Searchers as a Western Odyssey" (2008). Classics: Faculty Scholarship & Creative Works. http://digitalcommons.augustana.edu/clasfaculty/2 This Published Article is brought to you for free and open access by the Classics at Augustana Digital Commons. It has been accepted for inclusion in Classics: Faculty Scholarship & Creative Works by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. “WHAT MAKES A MAN TO WANDER?”: THE SEARCHERS AS A WESTERN ODYSSEY1 KIRSTEN DAY What makes a man to wander? What makes a man to roam? Opening theme from The Searchers2 INTRODUCTION Despite its fifth place ranking among the best movies ever made in a 1992 Sight and Sound critics’ poll,3 John Ford’s 1956 film The Searchers is surpris- ingly unfamiliar to the general public, even among Western film enthusiasts. The film’s critical appeal derives not only from its dazzling cinematography, all-star cast, and polished direction, but also from its innovative treatment 1 This article grew out of a paper presented at the Southwest Texas Popular Culture Associa- tion / American Culture Association conference in 2002. I am grateful to Geoff Bakewell, James Clauss, Kyle Day, and David Fredrick for their comments on this essay in various stages of revision. -
The Ford, J. Mss., 1906-1976, Consist of the Correspondence, Papers, and Memorabilia of Motion Picture Director John Ford, 1895-1973
The Ford, J. mss., 1906-1976, consist of the correspondence, papers, and memorabilia of motion picture director John Ford, 1895-1973. Ford was christened Sean Aloysius Feeney but changed his name after joining his older brother Francis, who had taken the name Ford, in Hollywood in 1913. John Ford began his motion picture career as an actor, stunt man, and prop man. In 1917 he became a director on the film The Tornado and directed over 130 films during his lifetime. Ford married Mary McBryde Smith in 1920 and they had two children: Patrick Roper born in 1921 and Barbara Nugent born in 1922. Ford's first great success, The Iron Horse in 1924, came after directing about fifty other films, chiefly Westerns. From 1927 to 1939 Ford directed more than thirty films, only one of which was a Western. He won his first Academy Award during this period for The Informer (1935), a film about the 1922 Irish rebellion. His next Academy Awards were for The Grapes of Wrath (1940) and How Green Was My Valley (1941). Two documentaries that he directed during World War II, The Battle of Midway and December 7th, also received Oscars. His last Academy Award was for another of his Irish films The Quiet Man (1952). An enthusiastic member of the Naval Reserve, Ford formed the Naval Field Photographic Reserve in early 1940. This unit was assigned to the Office of Strategic Services and Ford was ordered to report to Washington on September 11, 1941, just after completing How Green Was My Valley. He spent the war years doing documentary work in the Pacific, North Africa, Europe and India. -
The Estate of Maureen O'hara
Presents THE ESTATE OF MAUREEN O’HARA NOVEMBER 29, 2016 TURNER CLASSIC MOVIES AND BONHAMS: THE DEFINITIVE PARTNERSHIP FOR CLASSIC MOVIE MEMORABILIA TCM PRESENTS … THE ESTATE OF MAUREEN O’HARA Tuesday November 29, 2016 at 12pm New York BONHAMS BIDS INQUIRIES Automated Results Service 580 Madison Avenue +1 323 436 5552 Catherine Williamson, Ph.D. +1 (800) 223 2854 New York, New York 10022 +1 323 850 6090 fax Vice President, Director bonhams.com [email protected] Fine Books & Manuscripts/ ILLUSTRATIONS Entertainment Memorabilia Front cover: lot 54 To bid via the internet please visit +1 323 436 5442 Session page 1: lot 51 PREVIEW www.bonhams.com/23810 +1 323 850 5843 fax Session page 2: lot 54 Los Angeles catherine.williamson Session page 3: lot 71 Friday, November 11 Please note that telephone bids @bonhams.com Session page 4: lot 128 12pm - 5pm must be submitted no later Session page 5: lot 192 Saturday, November 12 than 4pm on the day prior to Dana Hawkes Session page 6: lot 211 12pm - 5pm the auction. New bidders must Consultant Back cover: lot 197 Sunday, November 13 also provide proof of identity +1 978 283 1518 12pm - 5pm and address when submitting [email protected] bids. Telephone bidding is only available for lots with a low Caren Roberts-Frenzel New York Saturday, November 26 estimate in excess of $1000. Administrator +1 323 436 5409 12pm - 5pm Please contact client services [email protected] Sunday, November 27 with any bidding inquiries. 12pm - 5pm Justin Humphries Monday, November 28 Please see pages 2 to 6 for Consulting Cataloguer 12pm - 5pm bidder information including Conditions of Sale, after-sale collection and shipment. -
The Searchers Study Guide
TEACHERS’ NOTES The Searchers is often described as John Ford’s Masterpiece. This study guide looks at why it is more than a straightforward Western and why it has become a classic film. The guide is aimed at students of GCSE English and Media Studies, A’ Level Media Studies, A’Level Film Studies and GNVO Media; Communication and Production (Intermediate and Advanced). It may also be used with students at K53. The guide looks at the origins of the Western genre and The Searchers’ place in its history, incorporating narrative structure, character development, music and filmic techniques. The Searchers: Certificate U. Running Time 119 minutes. MAJOR CREDITS FOR THE SEARCHERS The Searchers 1956 (Whitney/Warner) Producer: C. V. Whitney Director: John Ford Screenplay: Frank S. Nugent Director of Photography: Winston C. Hoch Editor: Jack Murray Music: Max Steiner Art Directors: Frank Hotaling, James Basevi Cast: John Wayne Jeffrey Hunter Vera Miles Ward Bond Natalie Wood Hank Warden Oscar Nominations 1956: Best Editing Best Original Musical Score © Film Education 1 THE SEARCHERS John Ford was undoubtedly one of the greatest intuitive story-tellers either America or the world has ever produced - a deeply conservative man hut, though he took pains to deny it, a poet too. The Western was not his only forte but it was, perhaps, his greatest. This particular example allows John Wayne to give his most considerable performance as the obsessive, enigmatic Ethan, riding in from Monument Valley to his brother’s homestead and then searching for his brother’s daughter, abducted by Indians. The contrast between the old, racist America and the new is simply expressed as much through body language, facial expression and visual sensibility as through dialogue. -
Movies Filmed in Monument Valley
Movies Filmed in Monument Valley Billy the Kid Metro-Goldwyn-Mayer Director: David Miller Starring: Robert Taylor, Brian Donlevy, Chill Wills 1941 My Darling Clementine 20th Century Fox Director: John Ford Starring: Henry Fonda, Victor Mature, Walter Brennan, Linda Darnell, Cathy Downs, Ward Bond, Tim Holt, John Ireland, Jane Darwell, Russell Simpson, Francis Ford 1946 Fort Apache RKO Radio Director: John Ford Starring: John Wayne, Henry Fonda, Shirley Temple, John Agar, Pedro Armendariz, George O’Brien, Anna Lee, Ward Bond, Victor McLaglen ,Francis Ford, Mae Marsh 1948 She Wore a Yellow Ribbon RKO Radio Director: John Ford Starring: John Wayne, Joanne Dru, John Agar, Ben Johnson, George O’Brien, Victor McLaglen , Harry Carey Jr., Mildred Natwood, Francis Ford, Tom Tyler, Chief Big Tree 1949 Rio Grande Warner Brothers Director: John Ford Starring: John Wayne, Ben Johnson, Maureen O’Hara, Harry Carey Jr., Chill Wills, Victor McLaglen 1950 The Wagon Master Warner Brothers Director: John Ford Starring: Ward Bond, Ben Johnson, Joanne Dru, Harry Carey Jr., Jane Darwell, Francis Ford 1950 The Searchers Warner Brothers Director: John Ford Starring: John Wayne, Jeffrey Hunter, Harry Carey Jr., Vera Miles, Ward Bond, Natalie Wood, John Qualen, Olive Carey 1956 Sergeant Rutledge Warner Brothers Director: John Ford Starring: Jeffrey Hunter, Constance Towers, Woody Strode, Mae Marsh, Eva Novak 1960 Cheyenne Autumn Warner Brothers Director: John Ford Starring: Richard Wildmark, Carroll Baker, Ricardo Montaban, Gilbert Roland, Sal Mineo, Dolores Del