Table of Contents

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.

About the Author

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).