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Howard Hawks (1896-1977) est l’un des plus importants réalisateurs du cinéma hollywoodien : tout spectateur a vu un jour au moins l’un de ses films (Scarface, Le Grand sommeil, Les Hommes préfèrent les blondes ou encore Rio Bravo). Cinéaste de référence de la « politique des auteurs » lancée par les Cahiers du cinéma dans les années cinquante, « redécouvert » alors par une critique américaine qui l’a longtemps mésestimé, on pouvait croire que le cinéma de Hawks avait livré tous ses secrets. Mais depuis le début des années quatre-vingt, mis à part des rééditions d’articles ou l’excellente biographie critique de Todd McCarthy, l’esthétique du cinéma a délaissé Hawks, peut-être trop marqué par des théories dont on est revenu. Pourtant, cette œuvre, par sa rigueur, reste aujourd’hui encore l’une des plus actuelles du cinéma classique, dont certains réalisateurs contemporains, comme Quentin Tarantino, John Carpenter ou Robert Zemeckis, ne cessent de faire l’éloge. Il faut donc réinterroger aussi bien le cinéma hawksien que les discours critiques qui ont contribué à en bâtir les modèles de réception depuis plus de cinquante ans. Telle est la double tâche que se propose cet ouvrage. Rompant avec une certaine vision de l’auteur au cinéma, il entend dégager de l’analyse des films une autre approche du cinéma hawksien, fondée sur une esthétique de la retenue. Il donne également l’occasion d’une nouvelle interprétation de la transparence du cinéma hollywoodien.

Hawks, Howard, --- Criticism and interpretation. --- Hawks, Howard --- Hawks, Howard Winchester, --- Film Radio Television --- retrait --- cinéma --- disparition

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'Red River '(1947) is one of Howard Hawks' near-perfect films. A sweeping, fast-moving Western, it's stunningly shot and stars John Wayne and Montgomery Clift in complex roles set off by typically fine ensemble acting. In her study, Suzanne Liandrat-Guigues explores the thematic complexity of 'Red River 'as well as its historical resonances and its place in film history. She focuses particular attention on the actors' contributions and on 'Red River''s relationship to other Hawks classics.

Western films --- Westerns --- History and criticism. --- Histoire et critique --- Hawks, Howard, --- Criticism and interpretation. --- Red river (Motion picture) --- Suzanne Liandrat-Guigues --- film --- filmklassiekers --- filmgeschiedenis --- Hawks Howard --- 791.471 HAWKS --- Red River (Motion picture) --- Red River (Motion picture).

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This engaging collection of Bruce F. Kawin's most important film essays (1977-2011) is accompanied by his interviews with Lillian Gish (1978) and Howard Hawks (1976). The Hawks interview is particularly concerned with his work with William Faulkner and their friendship. The Gish interview emphasizes her role as a producer in the 1920s. The essays focus on such topics as violence and sexual politics in film, the relations between horror and science fiction, the growth of video and digital cinema and their effects on both film and film scholarship, the politics of film theory, narration in film, and the relations between film and literature. Among the most significant articles reprinted here are 'Me Tarzan, You Junk', 'The Montage Element in Faulkner's Fiction', 'The Mummy's Pool', 'The Whole World Is Watching' and 'Late Show on the Telescreen: Film Studies and the Bottom Line'. The book includes close readings of films from 'La Jetée' to 'The Wizard of Oz'.

Motion pictures. --- Motion pictures --- Film reviews --- Motion picture plays --- Motion picture reviews --- Movie reviews --- Reviews of motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Gish, Lillian, --- Hawks, Howard, --- Hawks, Howard Winchester, --- De Guiche, Lillian, --- Guiche, Lillian de, --- Gish, Lilian, --- Hawks, Howard --- Gish, Lillian

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After his brother is jailed, a land baron and his small army of hired killers threaten to overrun a town in Rio Bravo, Howard Hawks's superb Western from 1958. The only resistance comes from a ragbag group centred around Sheriff Chance (John Wayne): a washed-up deputy (Dean Martin), an itinerant gambler (Angie Dickinson), an ageing dispossessed farmer (Walter Brennan) and a fresh-faced gun for hire (Ricky Nelson). Together they make a stand. Rio Bravo forms a loose trilogy with Only Angels Have Wings (1939) and To Have and Have Not (1944), which treats key Hawks themes of self-respect and friendship with exquisite subtlety, comedy and tenderness. Rio Bravo, however, is the definitive rendition of these themes. For Robin Wood, it may be the greatest American film, the epitome of the collaborative art of the studio system, characterised by marvellous performances from Hollywood legends and relative newcomers alike and by Hawks's complete understanding of classical film-making techniques. Most importantly, Rio Bravo speaks to enduring human questions, finding value in life even when observing its hardship. 'Rio Bravo remains,' Wood writes, 'beyond politics, as an argument as to why we should all want to go on living and fighting.'

Rio Bravo (Motion picture) --- Robin Wood --- film --- filmklassiekers --- filmgeschiedenis --- Hawks Howard --- Verenigde Staten --- 791.471 HAWKS --- Rio Bravo (Motion picture). --- Dollaro d'onore (Motion picture) --- Kahramanlar sehri (Motion picture) --- Onde começa o Inferno (Motion picture) --- Rio Buravō (Motion picture) --- Ρίο Μπράβο (Motion picture) --- Рiо Браво (Motion picture) --- Рио Браво (Motion picture)

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Peter Bogdanovich --- twintigste eeuw --- film --- regisseurs --- filmgeschiedenis --- Verenigde Staten --- Aldrich Robert --- Cukor George --- Dwan Allan --- Hawks Howard --- Hitchcock Alfred --- Jones Chuck --- Lang Fritz --- Lewis Jospeh H. --- Lumet Sidney --- McCarey Leo --- Preminger Otto --- Siegel Don --- von Sternberg Josef --- Tashlin Frank --- Ulmer Edgar G. --- Walsh Raoul --- 791.471 AAAA --- Lewis Jospeh H --- Ulmer Edgar G --- CDL