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William Howze

Type Title
The Influence of Western Painting and Genre Painting on the Films of John Ford
A few tentative observations on the state of film and genre painting scholarship
A note on the need for additional study of popular imagery
Alfred Jacob Miller’s Laramie’s Fort and Archibald M. Willard’s Spirit of ’76, two examples of John Ford’s understanding of iconic American images
An analysis of the time given to hearth scenes in Fort Apache
Charles M. Russell compositions Ford appropriated in his Western films
Charles Schreyvogel, primary source of Ford's cavalry charges
Ford's consistent use of popular imagery in Western and Non-Western films
Frederic Remington, Ford's favorite artist
Genre paintings that could have influenced key hearth scenes in Fort Apache
Historical roots of 19th century genre painting relevant to John Ford's films
Hollywood as John Ford found it in 1914
Influence and Iconography - art historical approaches to Ford's use of popular imagery
Introduction to Ford's post WWII westerns
Introduction to Ford's use of works by artists who depicted the "wild west"
Preface
Sources for Ford's "Cavalry trilogy:" The Saturday Evening Post and James Warner Bellah
The core image of Ford's Fort Apache: the hearth scene
Types of genre subjects seen in Ford's films: Hearth scenes
Types of genre subjects seen in Ford's films: Miscellaneous scenes
Types of genre subjects seen in Ford's films: Porch scenes
Types of genre subjects seen in Ford's films: Waiting scenes
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