Notes on Film:

(Filmic Genres) "provide different strategies for dealing with the same ideological tensions." Robin Wood, Ideology, Genre, Auteur." Film Theory and Criticism, 478

(genre films are only potent b/c) of the intervention of a clearly defined artistic personality in an ideological-generic structure. (ibid, 479)

(Both Qouted by Katherine Lawrie here: http://www.film.queensu.ca/Critical/Lawrie2.html)

On The Searchers by john ford:
Ethan's cynical cathphrase "that'll be the day" made a big impression on buddy holly and jerry allison, when they saw the searhers at the state theater in lubbock texas, their break thru song of that title, first recored in july 11956, by buddy holly and the crickets became the number on hit both in Us and Britian, during the fally of 1957...the late fifties a seventh grader making amatuer films in phoneix, steven spielberg shot a 2 reel western in a freinds backyard, immitating the searchers, using a backdrop of monument valley painted on a bedsheet...In 1967 Jen Luc Goddard included a reference to the Searchers but the hommage failed to enlighten the american art house audience... (Josesphm McBride, John Ford: A life) 570

...Apart from the searchers--which is a very moving and mysterious fiom that does not cheat on a serious subject adn that beutifully relates the landscape to its theme--I find his Westerns, pictorial, tediously rowdy, and based on cavalier treatment of american history...David Thomson, The New Biogrpahical Dictionary of Film,312)

...The narrative loses its sense of linerar devolpments events start and stop and start over again, just as ethan and martin leave, return, leave, return, leave and return again, semmingly caught in a repetive loop..the contrast b/w the doemstic and the landscape b/w inside and outside b/w those who stay and thouse who wander--all the familar opposites of the classical western narrative are again reinscrived thru the sieres of shot/reverse shot images...the searches disrupts the paterns by constructing a spatial-geographical detour as Ethan and Martin criss cross the landscape. Temporal as well as spatial markers are vage and we cannot map their movements with any certanity...
John Ford Made Westerns: Filming the Legend in the Sound Era
edited by Gaylyn Studlar, Matthew Bernstein, et. al, 121...

The opening credits (portrayed in a Playbill fontface) are displayed before a backdrop of an adobe brick wall. The words of the romantic Stan Jones ballad (sung by The Sons of the Pioneers) that play during the credits, What Makes a Man to Wander?, define the central theme of the film - one man's wanderings and obsessive search:

What makes a man to wander?
What makes a man to roam?
What makes a man leave bed and board
And turn his back on home?
Ride away, ride away, ride away.
Tim Dickinson--Greatest Films.com (shit site, just for info, bibilo the film)

t's a peculiarly formal and stilted movie, with Ethan framed in a doorway at the opening and the close. You can read a lot into it, but it isn't very enjoyable. The lines are often awkward and the line readings worse, and the film is often static, despite economic, quick editing. What made this John Ford Western fascinating to the young directors who hailed it in the 70s as a great work and as a key influence on them is the compulsiveness of Ethan's search for his niece (whose mother he loved) and his bitter, vengeful racism…The sexual undertones of Ethan's character almost seem to belong to a different movie; they don't go with the many crude and corny touches in this one."
-- Pauline Kael, 5001 Nights at the Movies

Johnny Guitar:

Johnny Guitar (Sterling Hayden) is a gunfighter who has replaced a gun in favour of a guitar. His masculinity , however ,is undisputed. w/o a gun, he is still the "best shot in the west" The gunfighter that Johnny Guitar used to be is never represtented on screen; masculinity s unreprestenable expect as self diffeence, figured in the film by the films love interest Vienna, As the film begins, Johnny returns after a long absesnce, during which he has ubndergone change from gunslinger to vagabond singer. His arrival coninceides with attacks on Vienna by a group bent on driving her out of town on the pretext that she is involved with members of a criminal gang. The group is led by Veinna's rival Emma small (Mercedes McCambridge) whose hatred strms not from the trumped up chagees against Viennea but from jelousy Emma sees Vienna as her rival for the affections of the Dancing Kid... (Writing Voices of Pleasur:HeteroSExuality w/o Women, Anne Callahan, 205)

...Though Rays freedom in playing with genre conventions, charachterizes most of his work, Johnny Guitar is perhaps his only film to exhibit a similar freedom in realtion to gender; positing two women as the strongest charachters in a group consisting mainly of outlaws and the members of a lynch mob... On the Necessity of Film Canons
Jonathan Rosenbaum (336) (mentions Rays relation to Haydents Motto: I'm a Stranger Here Myself)

Debord translates and includes two sequences from Johnny Guitar in his film work (more research)

In Women on the Verge of a Nervous Breakdown, we have the scene of the dubbing
of Johnny Guitar. I directly steal the dialogue of Johnny Guitar and make it the dialouge of my film (Interviews w. Pedro Almodavor, 99)