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Tradition in cinema criticism has given excessive importance to Cahiers du Cinéma in relation to Fordian authorship. However, it was in fact the ‘Turkish youths’ (Cahiers’s critics) the ones who not only undertook radical theories as regards cinema auteur but they were also the ones who decided what was the appropriate moment in which to establish Ford as an author, developing wide arguments on that issue. On a rather discreet level, but much earlier in time, the British magazine Sequence defended with strong reasoning the Fordian cause in the late forties. That position also made Sequence critics face the main obstacles in the Author Theory, although from a less systematic point of view. The existence and importance of Peter Ericsson’s article published in Sequence in 1947 in which the first reasons for the Fordian cause are defined, appears very clearly in the present article. From 1950 onwards and in the same magazine, the critic Lindsay Anderson would undertake once again the work that was raised by Ericsson.


ANDERSON, Lindsay, “They were expendable and John Ford”, Sequence, nº 11, summer, 1950, pp. 18-31.

ANDERSON, Lindsay, On John Ford. Writings and conversations, Paidós, Barcelona, 2001.

BOGDANOVICH, Peter, John Ford, Studio Vista, London, 1968.

BUSCOMBE, Edward, “Ideas of Authorship”, Screen, vol. 14, nº 3, autumn, 1973.

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CAUGHIE, John (ed.), Theories of Authorship, Routledge & Kegan Paul, London, 1981.

COURSEN, David, “John Ford: Assessing the Reassessment”, Film Quarterly, v. 29, nº 3, Spring, 1976, pp. 58-60.

CUEVAS, Efrén, “Notas sobre la teoría del autor en ficciones audiovisuales” (“Notes on Authorship theory in audiovisual fiction”), Comunicación y sociedad, VII, nº 1, pp. 155-164.

DAVIS, Ronald L., John Ford. Hollywood’s Old Master, University of Oklahoma Press, 1993.

DEMPSEY, Michael, “John Ford: A Reassessment”, Film Quarterly, v. 28, nº 4, summer, 1975, pp. 2-5.

DEMPSEY, Michael, “Michael Dempsey replies”, Film Quarterly, vol. 29, nº 3, spring, 1976, pp. 60-62.

EISENBERG, Emanuel, “John Ford: Fighting Irish”, New Theater, New York, April, 1936.

El Mundo, “John Ford is the best film maker in History, says Torres-Dulce”, 31-8-2011, p. 37.

ERICSSON, Peter, “John Ford”, Sequence, nº 2, winter, 1947, pp. 18-24.

EVERSON, William K., “Rediscovery”, Films in Review, nº 2, February, 1977, pp. 100-103.

EZEIZA, Antxon, “¿Nos repugna John Ford?” (“Do we hate John Ford?”), Nosferatu, nº 40, April, 2002, pp. 65-71.

EYMAN, Scott, Print the Legend. The life and Times of John Ford, Simon & Schuster, New York, 1999.

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(The heroic element in John Ford’s cinema, Ph.D. Thesis).

HILL, John, CHURCH, Pamela, American Cinema and Hollywood. Critical approaches, Oxford University Press, New York, 2000.

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LUHR, William, “Reception, Representation, and the OK Corral: Shifting Images of Wyatt Earp”, in BRAENDLIN, Bonnie, Authority and Transgression in Literature and Film, University Press of Florida, Gainesville, 1996.

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MITRY, Jean, “John Ford. Thinks the Greatest of all Themes the Way Individuals withstand the Blows of Fate”, Films in Review, vol. 6, nº 7, 1955, pp. 305-309.

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NICHOLS, Mary P., “Heroes and political communities in John Ford’s westerns: the role of Wyatt Earp in my Darling Clementine”, Perspectives on Political Science, vol. 31, nº 2, spring, 2002, p. 78.

Nickel Odeon, “My name is John Ford. I make westerns”, nº 26, extra, Spring, 2002.

NOZAL, Teresa, “La Nouvelle Vague vista desde un siglo nuevo” (‘the Nouvelle Vague as seen from a new Century’), in, September, 2011.

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PYE, Douglas, “Writing and Reputation: The Searchers 1956-1976”, in BIGNELL, Jonathan, Writing and Cinema, Longman, Edinburgh, 1999.

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ZUMALDE, Imanol, “El autor y su sombra” (“The Author and his Shadow”), ZER, nº 12, May, 2002, pp. 173-191.


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