When World War II broke out, John Ford, in his forties, commissioned in the Naval Reserve, was put in charge of the Field Photographic Unit by Bill Donavan, director of the soon-to-be-OSS. During the war, Field Photo made at least 87 documentaries, many with Ford's signature attention to heroism and loss, and many from the point of view of the fighting soldier and sailor. Talking heads discuss Ford's life and personality, the ways that the war gave him fulfillment, and the ways that his war films embodied the same values and conflicts that his Hollywood films did. Among the films profiled are "Battle of Midway," "Torpedo Squadron," "Sexual Hygiene," and "December 7."

While a few Hollywood celebrities such as James Stewart and Clark Gable saw combat during World War II, the majority used their talents to rally the American public through bond sales, morale-boosting USO tours, patriotic war dramas and escapist film fare. Comedian David Steinberg plays host for this star-studded, 90-minute documentary, which looks at the way Tinseltown helped the United States' war effort.

Documentary looking at how war has been dramatised on British television from the Second World War through the Falklands campaign to contemporary conflicts in Iraq and Afghanistan, examining the challenges - both financial and dramatic - in bringing war to the small screen. Why have so many of our greatest TV writers been drawn to the subject, and why has so much of their work been controversial? Should writers always respect the historical facts, or can dramatic licence reveal the greater truth about war? And in a world of 24-hour news, can drama tell us anything about war we canʼt now see for ourselves? It also looks at the lighter side of war, and why it has inspired some of our most successful sitcoms. Is there something about army life that lends itself to comedy? Soldiers who have had their exploits dramatised for television - Colonel Tim Collins, played by Kenneth Branagh in Ten Days to War, and Robert Lawrence, played by Colin Firth in Tumbledown - talk about the experience. Other contributors include historians Antony Beevor and Max Hastings, and playwrights Alan Bleasdale (The Monocled Mutineer) and Ian Curteis (The Falklands Play). Ex-MI5 chief Stella Rimington considers television's coverage of the Cold War, and comedy writers Jimmy Perry (Dad's Army) and Greg McHugh (Gary Tank Commander) discuss the rules of the war-based sitcom.

John Wayne, Henry Fonda and James Stewart discuss working with John Ford

A short length work by revered critic and theorist Shiguéhiko Hasumi and Shô Miyake, editing together John Ford's thematic system of “throwing” across many of his films. Edited according to which and how much each throwing scene was written about in Hasumi’s John Ford book, this film serves as a definitive version of a collage film initially created by Shinji Aoyama ten years ago. Aoyama, who passed away in March 2022, never saw the completion of his teacher’s book. Recognizing this, Hasumi recommended that Shô Miyake create a definitive version of the collage film, allowing him total creative freedom within a 60-minute runtime limit.

Tracing the evolution of the war-film genre from 1898 to 1996 by combining real-life combat footage with excerpts from Hollywood movies. Clips range from "Wings" (1927) to "Courage Under Fire" (1996). Also: Thomas Edison's shots of American soldiers in the Spanish-American War. Narrated by Martin Sheen.

Video interview with Ford's grandson, Dan Ford about the director and his home movies.

Documentary about John Ford's relation to Monument Valley.

John Ford was a master filmmaker with an influential style.

Dreaming the Quiet Man’ includes interviews with aficionados of Ford like, Martin, Scorsese, Peter Bogdanovicz, Jim Sheridan, William Dowling, and Joe McBride. There is mesmeric archive and rare photographs of the making of the film. The main location of the documentary is Ford’s ancestral homeland of Connemara, on the west coat of Ireland, where his parents were born. We meet Ford’s cousins, the Feeney’s who tell the story of Ford’s parent’s departure from Ireland after the Great Famine and the young Ford’s return to Ireland in 1922 to visit his cousins the Thornton’s and saw their house being burned down by the infamous Black and Tans. Ford, under the pretense of scouting locations for a movie, gave money to the IRA. We travel to Portland Maine where Ford grew up and went on to become a director in the first bloom of Hollywood. The boy made it good but Ireland was always on his mind.