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Silent era[ edit ] During his first decade as a director Ford worked on dozens of features including many westerns but only ten of the more than sixty silent films he made between and still survive in their entirety. According to Ford's own story, he was given the job by Universal boss Carl Laemmle who supposedly said, "Give Jack Ford the job—he yells good". The Tornado was quickly followed by a string of two-reeler and three-reeler "quickies"— The Trail of Hate , The Scrapper , The Soul Herder and Cheyenne's Pal ; these were made over the space of a few months and each typically shot in just two or three days; all are now presumed lost. The Soul Herder is also notable as the beginning of Ford's four-year, film association with veteran writer-actor Harry Carey , [20] who with Ford's brother Francis was a strong early influence on the young director, as well as being one of the major influences on the screen persona of Ford's protege John Wayne. Carey's son Harry "Dobe" Carey Jr.

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Introduction to 20th Century Music to create fresh sounds, twentieth-century composers used

Ot how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Black artists used these new possibilities to revamp key notions of modernity—among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.

to create fresh sounds, twentieth-century composers used

Weheliye surveys literature, film, and music to focus sojnds engagements with recorded sound. He offers substantial new readings of canonical texts by W. Looking at how link of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, to create fresh sounds black British artist Tricky and his partner Martina.

to create fresh sounds, twentieth-century composers used

Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more. Its porous and contingent nature forgives a lack of formality, while its neglect of perfection and virtuosity]

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