Here is the synopsis of our sample research paper on John Ford as an Auteur Filmmaker. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 5 page paper which examines why the Irish director is regarded as an auteur. Bibliography lists 5 sources.
Page Count:
5 pages (~225 words per page)
File: TG15_TGjfautr.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
it any distinctive quality" (Sarris 515). In other words, the auteur is an artist, and the movie screen is his canvas. The final film is his "singular" impression
of the screenplay, and becomes his own personal work of art (Doherty B9). The auteurs imprint is so unmistakable the mere mention of his name immediately alerts audiences to
expect a certain type of film. The French term could have been invented to describe John Ford, a towering filmmaker whose name conjures thoughts of infinite landscapes and of
larger-than-life heroes who were often conflicted by their love for freedom and their desire to civilize the very frontier that represented this independence. There were Western films before John
Ford arrived on the scene, but he truly made the genre his own not through scintillating dialogue but through "extraordinary images" (Doherty B9). During his long and fabled career,
John Ford made over 130 films, including The Grapes of Wrath (1940), The Quiet Man (1952) and Mister Roberts (1955) (Eckstein 60). However, the films which most profoundly reveal
Ford to be an auteur filmmaker are Stagecoach (1939), My Darling Clementine (1946), The Searchers (1956) and The Man Who Shot Liberty Valance (1962). The films beginning, breathtaking shots
of Monument Valley (which the director would make repeated use of in subsequent films), is quintessential John Ford. Wes D. Gehring observed in his text, Handbook of American Film
Genres, "The... arid landscape... provides... for Ford - a powerful evocation of the Wests natural hostility toward progress and civilization" (28). Following the opening credits, two riders inch ever
closer to Fords camera before dissolving (a favored Ford technique) into the mammoth exterior of a cavalry regiment (Gehring 28). Suddenly, what once looked like an endless horizon is
...