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The Early Hawks: Howard Hawks and His Films, 1926-1936.

レコード種別:	言語・文字資料 (印刷物) : 単行資料
タイトル / 著者:	The Early Hawks: Howard Hawks and His Films, 1926-1936.
著者:	Anderson, Michael Jay.
記述:	248 p.
注記:	Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.
含まれています:	Dissertation Abstracts International74-11A(E).
主題:	Cinema.
主題:	Art History.
主題:	American Studies.
国際標準図書番号 (ISBN) :	9781303296994
[NT 15000229] null:	This dissertation defines and historicizes Hollywood director Howard Hawks's (1896-1977) unique authorial contribution through a comprehensive set of autobiographically informed close readings and the practice of a thorough cultural analysis that seeks to frame Hawks's cinema within the appropriate ethnic, philosophical, political, religious and social contexts. This project centers on the first ten years of Hawks's work as director, insisting that it is within this comparatively unseen and under-analyzed body-of-work that the filmmaker's singular artistic identity emerges with the greatest degree of clarity. To begin with, it is in this site of origin for the "Hawksian" idiom that the filmmaker's special embodiment of the post-World War I decade receives its most straightforward and comprehensive expression. This dissertation accordingly offers an exhaustive, gendered accounting of popular historian Frederick Lewis Allen's "revolution in manners and morals" and the period's nascent consumer culture in relationship to the director's earliest surviving feature, Fig Leaves (1926). In so doing, this project relies not only on the film text, but also the period's star-oriented and trade publications in identifying Hawks's particular and separate address to male and female audiences. Hawks's partially Garden of Eden-based, battle-of-the-sexes comedy Fig Leaves consequently provides a thematic template for the filmmaker's late silent-period, often female-targeted Fox contract features, Paid to Love (1927), The Cradle Snatchers (1927) and Fazil (1928), which this dissertation analyzes as both expressions of the same postwar culture---a discussion of the "sheik" archetype is especially germane to both the era's new mores and also its consumer culture---and in relationship to the technological and aesthetic changes that emerged with the arrival of sound and the Hollywood influx of German emigre talent. This project thusly considers these same thematic and stylistic features in the filmmaker's pre-Code masterpiece Scarface (1932), which serves to fulfill the director's late silent idiom while pointing the way toward Hawks's consequent early sound-era artistry (which provides the remaining focus of the dissertation).
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3571907

The Early Hawks: Howard Hawks and His Films, 1926-1936.
Anderson, Michael Jay.

The Early Hawks: Howard Hawks and His Films, 1926-1936. - 248 p.

Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2013.

This dissertation defines and historicizes Hollywood director Howard Hawks's (1896-1977) unique authorial contribution through a comprehensive set of autobiographically informed close readings and the practice of a thorough cultural analysis that seeks to frame Hawks's cinema within the appropriate ethnic, philosophical, political, religious and social contexts. This project centers on the first ten years of Hawks's work as director, insisting that it is within this comparatively unseen and under-analyzed body-of-work that the filmmaker's singular artistic identity emerges with the greatest degree of clarity. To begin with, it is in this site of origin for the "Hawksian" idiom that the filmmaker's special embodiment of the post-World War I decade receives its most straightforward and comprehensive expression. This dissertation accordingly offers an exhaustive, gendered accounting of popular historian Frederick Lewis Allen's "revolution in manners and morals" and the period's nascent consumer culture in relationship to the director's earliest surviving feature, Fig Leaves (1926). In so doing, this project relies not only on the film text, but also the period's star-oriented and trade publications in identifying Hawks's particular and separate address to male and female audiences. Hawks's partially Garden of Eden-based, battle-of-the-sexes comedy Fig Leaves consequently provides a thematic template for the filmmaker's late silent-period, often female-targeted Fox contract features, Paid to Love (1927), The Cradle Snatchers (1927) and Fazil (1928), which this dissertation analyzes as both expressions of the same postwar culture---a discussion of the "sheik" archetype is especially germane to both the era's new mores and also its consumer culture---and in relationship to the technological and aesthetic changes that emerged with the arrival of sound and the Hollywood influx of German emigre talent. This project thusly considers these same thematic and stylistic features in the filmmaker's pre-Code masterpiece Scarface (1932), which serves to fulfill the director's late silent idiom while pointing the way toward Hawks's consequent early sound-era artistry (which provides the remaining focus of the dissertation).

ISBN: 9781303296994Subjects--Topical Terms:

423239
Cinema.

The Early Hawks: Howard Hawks and His Films, 1926-1936.
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245 1 4 $a The Early Hawks: Howard Hawks and His Films, 1926-1936.
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500 $a Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.
500 $a Advisers: Charles Musser; Alexander Nemerov.
502 $a Thesis (Ph.D.)--Yale University, 2013.
520 $a This dissertation defines and historicizes Hollywood director Howard Hawks's (1896-1977) unique authorial contribution through a comprehensive set of autobiographically informed close readings and the practice of a thorough cultural analysis that seeks to frame Hawks's cinema within the appropriate ethnic, philosophical, political, religious and social contexts. This project centers on the first ten years of Hawks's work as director, insisting that it is within this comparatively unseen and under-analyzed body-of-work that the filmmaker's singular artistic identity emerges with the greatest degree of clarity. To begin with, it is in this site of origin for the "Hawksian" idiom that the filmmaker's special embodiment of the post-World War I decade receives its most straightforward and comprehensive expression. This dissertation accordingly offers an exhaustive, gendered accounting of popular historian Frederick Lewis Allen's "revolution in manners and morals" and the period's nascent consumer culture in relationship to the director's earliest surviving feature, Fig Leaves (1926). In so doing, this project relies not only on the film text, but also the period's star-oriented and trade publications in identifying Hawks's particular and separate address to male and female audiences. Hawks's partially Garden of Eden-based, battle-of-the-sexes comedy Fig Leaves consequently provides a thematic template for the filmmaker's late silent-period, often female-targeted Fox contract features, Paid to Love (1927), The Cradle Snatchers (1927) and Fazil (1928), which this dissertation analyzes as both expressions of the same postwar culture---a discussion of the "sheik" archetype is especially germane to both the era's new mores and also its consumer culture---and in relationship to the technological and aesthetic changes that emerged with the arrival of sound and the Hollywood influx of German emigre talent. This project thusly considers these same thematic and stylistic features in the filmmaker's pre-Code masterpiece Scarface (1932), which serves to fulfill the director's late silent idiom while pointing the way toward Hawks's consequent early sound-era artistry (which provides the remaining focus of the dissertation).
520 $a The next of the biographically relevant sources that this dissertation explores is the First World War, which Hawks experienced as a non-combat flight instructor. It is the claim of this dissertation that Hawks's service impacted his corpus's "group" orientation and emphasis on male homo-sociality, which begins to obtain with the director's first talking picture, The Dawn Patrol (1930). This project accordingly considers the deeper cultural origins of the filmmaker's group focus in particular, locating the same social vision in the nineteenth century genre painting of George Caleb Bingham; American art historian David Lubin describes Bingham's worldview in terms of a "collective individualism" that this project likewise adopts, importing this rubric to Hawks's Rio Bravo (1959) and the Missouri River-situated The Big Sky (1952). This dissertation also uses an Americanist approach in response to the "professionalism" theme that this project considers beginning with its signature expression in the Depression-era prison picture, The Criminal Code (1931). In particular, this project compares Hawks's emphasis on vocation with that of Colonial New England portraitist John Singleton Copley, thus building on the scholarship of art historian Wayne Craven. This dissertation consequently argues that Hawks's professional subject matter makes evident the same "Protestant Ethic" that Craven interprets, using, as will this dissertation, the scholarship of German sociologist Max Weber as a hermeneutic key and point of departure. Indeed, upon extending Weber's analysis to the fundamentally Protestant incursion of "perilous" professional activity within films such as Tiger Shark (1932) and Come and Get It (1936), The Early Hawks considers the filmmaker's place in Rooseveltian America with additional analyses of Barbary Coast (1935) and Ceiling Zero (1936) clarifying the director's specific intervention. As this project argues, the latter in particular provides the most focused articulation of Hawks's anti-New Deal politics, even as the director's films retain an auto-critical ethos that further establishes the centrality for Hawks of the postwar decade---and in this case its "debunking" mentality. In the end it is this postwar moment of the director's "rising adulthood," the filmmaker's early twenty-something experiences of the First World War, and his inheritance of a longer Calvinistic Protestant tradition that provide Hawks's singularity within a Hollywood that did not always share his same W.A.S.P. value system and abundantly practical American aesthetic.
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