JOHN FORD AND THE AMERICAN WEST, by Peter Cowie
As more and more books about Ford's work and life are published, this one won't fail to attract readers who already have sufficient knowledge about Ford. It compares the great American painters, Remington and Russell, als well as others like Schreyvogel, in the most beautiful reproductions, to Ford's direction. The author makes it a point that Ford often studied paintings, especially Remington. In the case of "Yellow Ribbon" he officially went after Remington's style of composition and lighting. Peter Cowie especially analyzes the meaning of Monument Valley in Ford's films and guides the reader through the valley and the different locations he used. A handsome book.
There's nothing wrong with the theory of the paintings, of course, just one thing one must remind himself when reading the book: When paintings and photos from the films are compared, remember that the publicity stills were taken not by Ford - but by the official still taker. Very often those stills are quite different then the Ford's composition in the film. The publicity photograph would often have the actors for a shooting session while the still photographer would shoot pictures while the actors would try the upcoming scene (but not during shooting).