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Leading international scholars consider the films and legacy of Howard Hawks. Diverse contributions consider Hawks' work in relation to issues of gender, genre and relationships between the sexes, discuss key films including Rio Bravo, The Big Sleep and Red River, and address Hawks' visual style and the importance of musicality in his film-making.
Leading international scholars consider the films and legacy of Howard Hawks. Diverse contributions consider Hawks' work in relation to issues of gender, genre and relationships between the sexes, discuss key films including Rio Bravo, The Big Sleep and Red River, and address Hawks' visual style and the importance of musicality in his film-making.
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Autorenporträt
Ian Brookes teaches in the Department of Culture, Film and Media at the University of Nottingham, UK. He is the author of Film Noir: A Critical Introduction (2016).
Inhaltsangabe
Acknowledgements. Notes on Contributors. Preface; James D'Arc. Introduction: 'Who the Hell is Howard Hawks?'; Ian Brookes. 1. 'Ain't There Anyone Here for Love?' Space, Place and Community in the Cinema of Howard Hawks; Adrian Danks. 2. Hawks, Widescreen and Visual Style; Harper Cossar. 3. Hawks's 'Unhawksian' Biopic: Sergeant York; Jesse Schlotterbeck. 4. 'A Poisonous Picture': The Big Sleep, the Hollywood Left and the Postwar Thriller; Mark Jancovich and Robert Manning. 5. Hawks and the Western; Tom Ryall. 6. Gestures, Movements and Actions in Rio Bravo; Steve Neale. 7. 'A Travesty on Sex': Gender and Performance in Gentlemen Prefer Blondes; Ellen Wright. 8. Adapting to Women: Hawks, Comedy and Gender; Jeffrey Hinkelman. 9. Scoring the West: Dimitri Tiomkin and Howard Hawks; Kathryn Kalinak. 10. 'More Than Just Dance Music': Hawks and Jazz in the 1940s; Ian Brookes. 11. Red Line 7000: Fatal Disharmonies; Joe McElhaney. 12. Professionalism, the Protestant Ethic, and the New Deal: Hawks in the 1930s; Michael J. Anderson. 13. The Dawn Patrol: The Once and Future Hawks; Tony Williams. 14. Irresolvable Circularity: Narrative Closure and Nihilism in Only Angels Have Wings; Doug Dibbern. Notes. Bibliography. Filmography. Index.
Acknowledgements. Notes on Contributors. Preface; James D'Arc. Introduction: 'Who the Hell is Howard Hawks?'; Ian Brookes. 1. 'Ain't There Anyone Here for Love?' Space, Place and Community in the Cinema of Howard Hawks; Adrian Danks. 2. Hawks, Widescreen and Visual Style; Harper Cossar. 3. Hawks's 'Unhawksian' Biopic: Sergeant York; Jesse Schlotterbeck. 4. 'A Poisonous Picture': The Big Sleep, the Hollywood Left and the Postwar Thriller; Mark Jancovich and Robert Manning. 5. Hawks and the Western; Tom Ryall. 6. Gestures, Movements and Actions in Rio Bravo; Steve Neale. 7. 'A Travesty on Sex': Gender and Performance in Gentlemen Prefer Blondes; Ellen Wright. 8. Adapting to Women: Hawks, Comedy and Gender; Jeffrey Hinkelman. 9. Scoring the West: Dimitri Tiomkin and Howard Hawks; Kathryn Kalinak. 10. 'More Than Just Dance Music': Hawks and Jazz in the 1940s; Ian Brookes. 11. Red Line 7000: Fatal Disharmonies; Joe McElhaney. 12. Professionalism, the Protestant Ethic, and the New Deal: Hawks in the 1930s; Michael J. Anderson. 13. The Dawn Patrol: The Once and Future Hawks; Tony Williams. 14. Irresolvable Circularity: Narrative Closure and Nihilism in Only Angels Have Wings; Doug Dibbern. Notes. Bibliography. Filmography. Index.
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