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Die Kavalleriewestern John Fords

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Die Kavalleriewestern John Fords CORE Metadata, citation and similar papers at core.ac.uk Provided by Hochschulschriftenserver - Universität Frankfurt am Main Die Kavallerie-Western John Fords Inauguraldissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich 10 Neue Philologien der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main. vorgelegt von Dirk Christian Loew aus Wiesbaden Frankfurt am Main, 2002 (Einreichungsjahr) 2003 (Erscheinungsjahr) 1. Gutachter: Prof. Dr. Walter Kühnel 2. Gutachterin: Prof. Dr. Christa Buschendorf Termin mündliche Prüfung: 17.1.2003 „I HATE PICTURES....WELL, I LIKE MAKING THEM....BUT IT`S NO USE ASKING ME TO TALK ABOUT ART.“ John Ford BUT STILL THE HAND OF MEM `RY WEAVES/ THE BLISSFUL DREAMS OF LONG AGO.... Genevieve, Volkslied, gesungen in „Fort Apache“ 1 Inhaltsverzeichnis Die Kavallerie-Western John Fords ........................................................................................5 1. Einleitung.......................................................................................................................5 1.1. Inhalt und Methodik dieser Untersuchung.............................................................6 1.2. Bisherige Veröffentlichungen über die Filme John Fords....................................11 1.3. John Ford - American Artist .................................................................................12 2. Directed by John Ford..................................................................................................14 2.1. John Ford und das Westerngenre..........................................................................14 2.2. Der Kavalleriewestern als Subgenre.....................................................................31 2.3. John Ford: Autor? Theorie und Praxis ..................................................................36 2.3.1 Theorie ................................................................................................................36 2.3.2. Praxis..................................................................................................................42 2.3.3. Fords Arbeitsweise............................................................................................59 2.4. Fords thematische Motive .....................................................................................63 2.4.1. Irland ..................................................................................................................64 2.4.2. Gemeinschaft .....................................................................................................65 2.4.3. Opfer ..................................................................................................................67 2.4.4. Befehlsmühsal....................................................................................................69 2.4.5 Rituale .................................................................................................................70 2.4.6. Schule, Kirche, Musik........................................................................................71 2.4.7. Wilderness und Garten.......................................................................................72 2.4.8. Ethnizität ............................................................................................................74 2.4.9. Die Poesie der Gegenstände...............................................................................77 2.5. Die Mythologie des Westens ................................................................................79 3. „Stagecoach“................................................................................................................87 3.1. Inhalt .....................................................................................................................88 3.2. „Stagecoach“ - ein Meilenstein.............................................................................89 3.3. Produktionsgeschichte ..........................................................................................93 3.4. Der Zeitbezug in „Stageocach“: Interventionismus und New Deal.....................98 3.5. Analyse: Gesellschaft, Genremuster...................................................................101 3.6. Die Kavallerie in „Stagecoach“ .........................................................................107 4. Die erste Kavallerietrilogie ........................................................................................111 4.1. „Fort Apache“.....................................................................................................112 2 4.1.1. Inhalt ...............................................................................................................112 4.1.2. Produktionsgeschichte .....................................................................................113 4.1.3. Analyse I: Thursday vs. York ..........................................................................120 4.1.4. Analyse II: Familie und Moral.........................................................................125 4.1.5. Der Zeitbezug in „Fort Apache“: „Management-Labor Relations“ ...............133 4.2. „She Wore A Yellow Ribbon“............................................................................137 4.2.1. Inhalt ................................................................................................................138 4.2.2. Produktionsgeschichte .....................................................................................139 4.2.3. Analyse I: Zwei Hauptmotive..........................................................................141 4.2.4. Analyse II: Inszenierung von Kostümen und Landschaft................................148 4.3. Rio Grande ..........................................................................................................154 4.3.1. Inhalt ................................................................................................................154 4.3.2. Produktionsgeschichte .....................................................................................155 4.3.3. Analyse: Erste Risse ........................................................................................158 4.4. Der Zeitbezug der ersten Kavallerietrilogie: Kalter Krieg..................................169 4.4.1. Zeitbezug II: Militarismus und McCarthy.......................................................175 5. Stationen einer Entwicklung......................................................................................183 5.1. „The Searchers“..................................................................................................184 5.1.1. Inhalt ................................................................................................................185 5.1.2. Produktionsgeschichte .....................................................................................186 5.1.3. Analyse: Rassismus .........................................................................................192 5.1.4. Der Zeitbezug in „The Searchers“ : Rassenproblematik .................................195 5.1.5. Zeitbezug II: Die Krise der Familie .................................................................200 5.1.6. Die Kavallerie in „The Searchers“..................................................................204 5.2. „Two Rode Together“.........................................................................................211 5.2.1. Inhalt ................................................................................................................212 5.2.2. Produktionsgeschichte .....................................................................................213 5.2.3. Analyse I: Werteverfall....................................................................................215 5.2.4. Analyse II: Rassismus ......................................................................................219 5.2.5. Der Zeitbezug in „Two Rode Together“: Ethnizität ........................................220 5.2.6 Die Kavallerie in „Two Rode Together“.........................................................224 6. Die zweite Kavallerietrilogie .....................................................................................230 6.1. „The Horse Soldiers“..........................................................................................230 6.1.1. Inhalt ................................................................................................................231 3 6.1.2. Produktionsgeschichte .....................................................................................232 6.1.3. Analyse I: Die Kavallerie im Bürgerkrieg.......................................................234 6.1.4. Analyse II: Der Verlust des Mythos der Kavallerie.........................................238 6.2. „Sergeant Rutledge“............................................................................................246 6.2.1. Inhalt ................................................................................................................248 6.2.2. Produktionsgeschichte .....................................................................................249 6.2.3. Analyse I: Die Kavallerie in „Sergeant Rutledge“..........................................251 6.2.4. Analyse II: Der Verlust der Wilderness ...........................................................255 6.3. „Cheyenne Autumn“...........................................................................................263 6.3.1.
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