图书简介

Acknowledgements Notes on Contributors Preface; James D’Arc Introduction: ’Who the Hell is Howard Hawks?’; Ian Brookes Section One: Hawks, Space, Place and Style 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 Section Two: Hawks and the Politics of Genre 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 Section Three: Hawks and the Western 5. Hawks and the Western; Tom Ryall 6. Gestures, Movements and Actions in Rio Bravo; Steve Neale Section Four: Hawks and Gender 7. ’A Travesty on Sex:’ Gender and Performance in Gentlemen Prefer Blondes; Ellen Wright 8. Adapting to Women: Hawks, Comedy and Gender; Jeffrey A Hinkelman Section Five: Hawks and Music 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 Section Six: Hawks, Ancient and Modern 11. Red Line 7000: Fatal Disharmonies; Joe McElhaney 12. Professionalism, the Protestant Ethic, and the New Deal: Hawks in the 1930s; Michael J Anderson Section Seven: Dark Circles: Hawks, War and Aviation 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 Filmography Bibliography Index

Trade Policy 买家须知