LEADER 03437nam 22006135 450 001 996248223603316 005 20210525022252.0 010 $a1-282-77223-6 010 $a9786612772238 010 $a0-520-94107-1 010 $a1-4356-1140-3 024 7 $a10.1525/9780520941076 035 $a(CKB)1000000000480604 035 $a(EBL)318082 035 $a(OCoLC)476111493 035 $a(SSID)ssj0000173619 035 $a(PQKBManifestationID)11172634 035 $a(PQKBTitleCode)TC0000173619 035 $a(PQKBWorkID)10165018 035 $a(PQKB)10599500 035 $a(MiAaPQ)EBC318082 035 $a(OCoLC)182630813 035 $a(MdBmJHUP)muse30435 035 $a(DE-B1597)519799 035 $a(DE-B1597)9780520941076 035 $a(dli)HEB08088 035 $a(MiU)MIU01000000000000009641355 035 $a(EXLCZ)991000000000480604 100 $a20200424h20072007 fg 0 101 0 $aeng 135 $aurun#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aHow the West Was Sung $eMusic in the Westerns of John Ford /$fKathryn M. Kalinak 210 1$aBerkeley, CA :$cUniversity of California Press,$d[2007] 210 4$dİ2007 215 $a1 online resource (268 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-25233-0 311 0 $a0-520-25234-9 320 $aIncludes bibliographical references (p. 235-239) and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction --$t1. How the West Was Sung: Music in the Life and Films of John Ford --$t2. Hearing the Music in John Ford's Silents: The Iron Horse and 3 Bad Men --$t3. "Based on American Folk Songs": Scoring the West in Stagecoach --$t4. Two Fordian Film Scores: My Darling Clementine and The Man Who Shot Liberty Valance --$t5. "Western as Hell": 3 Godfathers and Wagon Master --$t6. "The Girl I Left Behind Me": Men, Women, and Ireland in the Cavalry Trilogy --$t7. "What Makes a Man to Wander": The Searchers --$t8. In the Shadow of The Searchers: Two Rode Together and Sergeant Rutledge --$t9. Cheyenne Autumn: A Conclusion --$tNotes --$tSelect Bibliography --$tIndex 330 $aJames 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. 606 $aMotion picture music$zUnited States$xHistory and criticism 615 0$aMotion picture music$xHistory and criticism. 676 $a781.5/42 700 $aKalinak$b Kathryn M.$4aut$4http://id.loc.gov/vocabulary/relators/aut$01016744 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996248223603316 996 $aHow the West Was Sung$92380605 997 $aUNISA