"A BFI book published by Palgrave." Includes bibliographical references and index. Filmography: pages 245-262.
Contents:
Irresolvable Circularity: Narrative Closure and Nihilism in Only Angels Have Wings / Doug Dibbern. Hawks, Widescreen and Visual Style / Harper Cossar -- Hawks's 'UnHawksian' Biopic: Sergeant York / Jesse Schlotterbeck -- 'A Poisonous Picture': The Big Sleep, the Hollywood Left and the Postwar Thriller / Robert Manning -- Hawks and the Western / Tom Ryall -- Gestures, Movements and Actions in Rio Bravo / Steve Neale -- 'A Travesty on Sex': Gender and Performance in Gentlemen Prefer Blondes / Ellen Wright -- Adapting to Women: Hawks, Comedy and Gender / Jeffrey Hinkelman -- Scoring the West: Dimitri Tiomkin and Howard Hawks / Kathryn Kalinak -- 'More Than Just Dance Music': Hawks and Jazz in the 1940s / Ian Brookes -- Red Line 7000: Fatal Disharmonies / Joe McElhaney -- Professionalism, the Protestant Ethic and the New Deal: Hawks in the 1930s / Michael J. Anderson -- The Dawn Patrol: The Once and Future Hawks / Tony Williams -- Irresolvable Circularity: Narrative Closure and Nihilism in Only Angels Have Wings / Doug Dibbern.
Summary:
"In a career spanning half a century, Howard Hawks (1896-1977) made many of Hollywood's most critically acclaimed and enduringly popular films. Working in almost every genre, his output includes firmly established classics such as Scarface (1932), His Girl Friday (1940), The Big Sleep (1946), Gentlemen Prefer Blondes (1953) and Rio Bravo (1959). But although one of the greatest American film-makers, he remains something of a marginalised figure and often goes unrecognised as the director of his own films. In this wide-ranging collection of new essays, leading international scholars provide reassessments of Hawks's work and working methods in relation to genre, gender, music, visual style, space and narrative. Spanning Hawks's silent period to the late Westerns, and focusing on his critical successes as well as his neglected and disparaged films, the volume recognises and re-evaluates his diverse contribution to film-making."--Page [4] of cover.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.