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The first major biography of one of Old Hollywood’s greatest directors. Sometime partner of the eccentric Howard Hughes, drinking buddy of William Faulkner and Ernest Hemingway, an inveterate gambler and a notorious liar, Howard Hawks was the most modern of the great masters and one of the first directors to declare his independence from the major studios. He played Svengali to Lauren Bacall, Montgomery Clift, and others, but Hawks’s greatest creation may have been himself. As The Atlantic Monthly noted, “Todd McCarthy. . . . has gone further than anyone else in sorting out the truths and lies of the life, the skills and the insight and the self-deceptions of the work.” “A fluent biography of the great director, a frequently rotten guy but one whose artistic independence and standards of film morality never failed.” —The New York Times Book Review “Hawks’s life, until now rather an enigma, has been put into focus and made one with his art in Todd McCarthy’s wise and funny Howard Hawks.” —The Wall Street Journal “Excellent. . . . A respectful, exhaustive, and appropriately smartass look at Hollywood’s most versatile director.” —Newsweek
A significant and contemporary study of director Howard Hawks by influential film critic Robin Wood, reprinted with a new introduction.
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.
An analysis of the narrative style of the Hollywood movie director, Howard Hawks, examines the use of sound, camera movement, and other cinematic techniques in his classic films
A portrait of Howard Hawks traces the life and career of the successful Hollywood director who created such films as Scarface, Bringing Up Baby, Red River, Sergeant York, and The Big Sleep. Reprint.
Interviews with the director of Scarface, Only Angels Have Wings, His Girl Friday, Sergeant York, Bringing Up Baby, The Big Sleep, Red River, Gentlemen Prefer Blondes, and Rio Bravo
An analysis of the narrative style of the Hollywood movie director, Howard Hawks, examines the use of sound, camera movement, and other cinematic techniques in his classic films
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Scientific Essay from the year 2013 in the subject Communications - Movies and Television, grade: 1,0, Pace University, language: English, abstract: The arts, especially films, have always functioned as mirrors of current conditions in society. Gerald Mast states that the reflection of social reality is the primary intention of commercial motion pictures (203). Film comedies, in particular, are able to deal with these conditions in an iconoclastic manner and can question or even expose “the shams of society,” because they use “the entertaining comic form” (21). After the imposition of the Production Code on American film productions in 1934, it appears the conservative values of gender, love and family become more consolidated in films. According to Jane Greene, the outcome of this suppression of, for example, explicit sexuality led to an all new genre - the “screwball comedy” (45). The iconoclastic quality of comedies during that time, hence, relied on a “unique aesthetic for destroying Hollywood assumptions while appearing to subscribe to them” (Mast 250). In particular, the screwball comedy Bringing Up Baby (Howard Hawks, 1938) breaks the classical gender roles and undermines male supremacy in the Hollywood conventions long before the second wave feminist movement of the 1960s. In particular, the female lead’s “screwball” actions can be read as a performance in sharp contrast to the Victorian role model of women. In the following analysis of specific scenes, the film’s use of the cinematic techniques of mise-en-scene, cinematography, and its opposing main characters in order to construct an equal gender image will be examined, drawing mainly on readings by scholars such as Gerald Mast, S.I. Salamensky, and Stanley Cavell.
Seminar paper from the year 2003 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,3, Technical University of Braunschweig, 5 entries in the bibliography, language: English, abstract: Worse than the economic impact of the Depression were its psychological effects on the people: unemployment and hunger lead to moral depression, distrust, and the downfall of traditional legal norms. Consequently, criminality became a major problem which politicians did not seem to be able to stop. It was an open secret that gangsters such as Al Capone made a lot of money by trading with alcoholic beverages during Prohibition and gained a lot of political influence by this. Chicago is commonly seen as the place where gangdom first developed. Its gangster image still clings to the city today. The most prominent events and people related to the gangs of Chicago were Al Capone and the ‘War of Sicilian Succession’ which resulted in the St Valentine’s Day Massacre, leaving seven gang leaders killed and Capone as the new czar of the underworld. For the public, the adventurous and fancy life of the gang world became the symbol for the new mass culture that evolved from urbanization. The stereotype of the new criminal helped to overcome the traditional social boundaries that seemed no longer apt for the urbanized society. The gangster-movie genre, along with the press reinforced the gangster myth. SCARFACE –SHAME OF THE NATION by Howard Hawks (1930/1932) fits in with this concept. However, the movie also shows the influence the press takes in the creation of the media gangster. For this reason, it gives an ambivalent picture of the gang world in the 1930s. So is it a critique or part of the gangster myth creation? How are the historical events depicted, and how much is the representation of the gangsters in the movie predisposed by the media image of the gangster? In order to answer these questions, a short historical overview of Chicago’s ganglife at the turn of the 19th century is given and the development of the gangster myth and the role of class, ethnicity, and style is explained. The characteristics of the gangster movie in the 1930s are put into context with the analysis of Howard Hawks’ SCARFACE – SHAME OF THE NATION. The movie is furthermore analyzed with regard to the depiction of historical events, gangster iconography, and the role of the media.
He is Cormac FitzGeoffrey, and he has no master. As a wandering warrior born and bred on battle, he's a renowned fighter, a ruthless adversary, and a man who is no stranger to the ways of violence and bloodshed. He counts his friends on one hand, so when Cormac learns that his most recent liege has been murdered, nothing will stop his quest for revenge. By oath, a path of vengeance will be marked with the blood of his enemies. Sword-swinging, berserker action in only the way Robert E. Howard could deliver!
Known for creating classic films including His Girl Friday, The Big Sleep, Bringing Up Baby, and Gentlemen Prefer Blondes, Howard Hawks is one of the best-known Hollywood ‘auteurs’, but the important role that music plays in his films has been generally neglected by film critics and scholars. In this concise study, Gregory Camp demonstrates how Hawks' use of music and musical treatment of dialogue articulate the group communication that is central to his films. In five chapters, Camp explores how the notion of 'music' in Hawks' films can be expanded beyond the film score, and the techniques by which Hawks and his collaborators (including actors, screenwriters, composers, and editors) achieve this heightened musicality.
"I read Hawks on Hawks with passion. I am very happy that this book exists." -- François Truffaut Howard Hawks (1896--1977) is often credited as being the most versatile of all of the great American directors, having worked with equal ease in screwball comedies, westerns, gangster movies, musicals, and adventure films. He directed an impressive number of Hollywood's greatest stars -- including Humphrey Bogart, Cary Grant, John Wayne, Lauren Bacall, Rosalind Russell, and Marilyn Monroe -- and some of his most celebrated films include Scarface (1932), Bringing Up Baby (1938), The Big Sleep (1946), Red River (1948), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). Hawks on Hawks draws on interviews that author Joseph McBride conducted with the director over the course of seven years, giving rare insight into Hawks's artistic philosophy, his relationships with the stars, and his position in an industry that was rapidly changing. In its new edition, this classic book is both an account of the film legend's life and work and a guidebook on how to make movies.
Interviews with the director of Scarface, Only Angels Have Wings, His Girl Friday, Sergeant York, Bringing Up Baby, The Big Sleep, Red River, Gentlemen Prefer Blondes, and Rio Bravo

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