John Ford’s The Long Voyage Home (1940)

This chapter deals with the 1940 film The Long Voyage Home, directed by ‘America’s Homer’, John Ford, and critically received as ‘a modern Odyssey’. The film is an adaptation of four one-act plays by Eugene O’Neill, known as the Glencairn cycle, which are permeated by a tragic vision of unattainable nostos. Set in the contemporary context of World War II, it dramatizes the SS Glencairn’s perilous voyage home from the West Indies to England, with a cargo of munitions aboard. There is no obvious Odyssean figure in this nostos tale. Instead the members of the steamer’s ragtag international crew represent variations of the same Odyssean longing. Joseph McBride defines the film’s dramatic focus as ‘the archetypal Fordian male conflict between the urge to wander and the yearning for home’. But these men are not so much wanderers as lost souls purgatorially in thrall to the sea.

Microanálisis fílmico y teoría del cine en la alfabetización audiovisual: estrategias didácticas desde y para la práctica docente universitaria

El presente artículo propone que el análisis de secuencias cinematográficas (microanálisis fílmico) es una herramienta pedagógica efectiva para la enseñanza de la teoría del cine dirigida a públicos no especializados, y que tal enseñanza teórica constituye el primer paso hacia la alfabetización audiovisual de dichos públicos. El texto busca ser una guía práctica para docentes que deseen promover en sus aulas el alfabetismo audiovisual a través de la discusión teórica y el análisis cinematográfico, y se estructura alrededor de tres grupos de teorías: a) Realismo, b) Formalismo / Constructivismo y c) Neoformalismo / Cognitivismo / Postestructuralismo. En cada sección se hace una descripción detallada de las dinámicas que la autora lleva a cabo en el salón de clase alrededor de ciertas secuencias cinematográficas para propiciar que los alumnos reflexionen, como parte de un proceso alfabetizador, sobre distintas maneras de conceptualizar el cine. Las secuencias trabajadas pertenecen a las películas High Anxiety (Mel Brooks, 1977), La diligencia (John Ford, 1939), Los sueños de Akira Kurosawa (episodio "Cuervos", Akira Kurosawa, 1990), La invención de Hugo (Martin Scorsese, 2011) y Super Fantozzi (Neri Parenti, 1986).

Planos frontais e autoridade em crise no cinema: o acontecimento disruptivo

A partir da ideia de configuração (Badiou, 1998) de imagens de primeiros planos frontais, observados em filmes de John Ford, Alfred Hitchcock, Major Thomaz Reis, Julio Bressane e James Williamson, o artigo investiga de que forma “os sinais instáveis da imagem cinematográfica” (Lindeperg, 2013) são capazes de introduzir uma contradição e, por vezes, confrontar diversos tipos de discursos de autoridade que podem existir em um filme, a partir de um acontecimento disruptivo.

John Fletcher’s Collaborator on The Noble Gentleman

Although John Fletcher is recognized as one of the most influential dramatists of the early modern period, many of the theories concerning the divisions of authorship in his collaborative plays continue to present insoluble difficulties. For instance, according to the soundly based chronology developed by Martin Wiggins, many plays attributed in part to Francis Beaumont appear to have been written after Beaumont had ceased writing (c. 1613), or even after he died in 1616. A prime example would be The Noble Gentleman (1626), which E. H. C. Oliphant and Cyrus Hoy attributed in part to Beaumont. Modern scholarship holds that this was Fletcher’s last play and that it was completed by another hand after Fletcher died in 1625. This article offers the most comprehensive analysis yet undertaken of the stylistic qualities of the “non-Fletcher” portions in this play in relation to dramatists writing for the King’s Men at the time, thereby opening up several new lines of enquiry for co-authored plays of the period. Seeking to broaden our understanding of the collaborative practices in plays produced by that company in or around 1626, through a combination of literary-historical and quantitative analysis, the article puts forth a new candidate for Fletcher’s posthumous collaborator: John Ford.

The Iconography of John Ford's Westerns

This paper follows the way in which the filmography of the movie director John Ford presents cultural icons. We discuss the symbolism of these images and their cultural significance in the larger context of the West as a cultural area and American culture in general. Ford’s sensibility had one foot in 19th century American thought and feeling, and the other in the 20th century. We argue in favor of the idea that John Ford is a myth-builder and a visual image-maker whose contribution provided the foundation of a romantic, heroic America and the forging of American national character.

Peleando engaños

Jesús Franco is the filmmaker who undoubtedly shot more movies than John Ford. His remains were lost, celebrating his farewell, in a public park in Malaga, which in the end is not such a bad place. In this chapter certain events, experiences, observations and some shared experiences are related by the one whom he affectionately called El Chino, or Mr. Quererber: his assistant, co-writer, second unit director and, at all times, his friend, about the most prolific film director of all time, who authored more than two hundred films using nearly seventy pseudonyms.