This thesis investigates how commercial interests influence free film production and the way film makers position themselves in that environment. The hypothesis is that a movie director has the possibility, using shapes in the mise-en-scène, to escape from or support dominant ideologies. From an ideology-critical perspective, the analysis focuses on the mise-en-scène in comical sequences in John Ford´s Stagecoach, How Green Was My Valley, Rio Grande, The Quiet Man and additional scenes from the director´s filmography. The evaluation of Ford´s style reveals a preoccupation of the themes of power, military life, alcohol and interactions between men and women. The director is practicing a rebellious, escapist and ideologically influenced direction and mise-en-scène. The subject matter of this thesis is opening up for new perspectives of study of a classic film director.