Howard Hawks as Auteur (Discussion) - Revision history

Jeremy Butler: Undo revision 3564 by Jeremy Butler (talk)

2020-02-24T19:17:53Z

Undo revision 3564 by Jeremy Butler (talk)

Jeremy Butler: removed questions

2020-02-23T16:32:36Z

removed questions

Jeremy Butler: removed groups

2020-02-23T16:32:16Z

removed groups

ScreenAdmin: 27 revisions imported

2019-08-14T21:31:11Z

27 revisions imported

Jeremy Butler at 14:17, 23 April 2018

2018-04-23T14:17:25Z

Jeremy Butler: rearranged groups

2017-02-27T15:18:51Z

rearranged groups

Jeremy Butler: /* Bibliography */ tweaked citation

2016-02-29T15:15:44Z

Bibliography: tweaked citation

Jeremy Butler: added humiliation

2016-02-29T15:10:58Z

added humiliation

Jeremy Butler: /* Naomi Wise */

2015-02-23T17:13:17Z

Naomi Wise

Jeremy Butler: re-arranged groups

2015-02-23T15:39:08Z

re-arranged groups

← Older revision		Revision as of 19:17, 24 February 2020
Line 1:		Line 1:
		+	== Andrew Sarris, ''The American Cinema'' ==
		+	#How does Sarris characterize Hawks' visual style?
		+	#What does Sarris mean by "professionalism" and how have we seen that in Hawks's films (not ''His Girl Friday'')?
		+
		+	==Peter Wollen (in John Caughie, ed., ''Theories of Authorship'')==
		+	#Wollen writes, "...by a process of comparison with other films, it is possible to decipher...a structure which underlies the film and shapes it.... It is this structure which ''auteur'' analysis disengages from the film" (146).
		+	#*What does he mean by a "structure"? On the next page, he puts "Hawks" in quotation marks and refers to it (him?) as a structure. (Remember: Edward Buscombe quoted Wollen in last week's readings.)
		+	#A lot of this essay contrasts the work of Howard Hawks with that of John Ford. What "master antinomy" does Wollen see in Ford's work (and what does "antinomy" mean?)?
		+
		+	==From ''Howard Hawks American Artist''==
		+	===V. F. Perkins===
		+	#What function does language serve in Hawks's comedies? How is that evident in ''Ball of Fire''?
		+	#How does Hawks use humiliation in his comedies? How is that evident in ''Ball of Fire''?
		+
		+	===Lee Russell (Peter Wollen)===
		+	#How does Russell characterize the Hawksian group?
		+	#What aspects of Hawksian "professionalism" does Russell discuss?
		+	#What does he believe are the two principal themes of Hawks's comedies?
		+
		+	===Naomi Wise===
		+	#Wise sees Bonnie Lee in ''Only Angels Have Wings'' as the quintessential "Hawksian woman." What characteristics does she see associated with the Hawksian woman?
		+	#Wise maintains that Hawks's films "frequently show a merging of sexual roles for the benefit of both sexes" (113). What does she mean by this? Have you seen evidence for this in the films we've watched (not ''His Girl Friday'')?
		+	#In the end, Wise claims that "a central theme throughout Hawks is the shedding of sexual roles" (118). Do you agree?
		+
		+	===Jacques Rivette===
		+	#According to Rivette, what is the relationship of Hawks's comedies and dramas? (It differs from what was discussed in lecture.)
		+	#Rivette claims that Hawks "sticks to the same story--the intrusion of the inhuman... into a highly civilized society." Do you agree? Have you seen this in the films we've watched?
		+
		+	===André Bazin===
		+	#How does Bazin defend the auteurist emphasis on the director?
		+
	== Bibliography ==		== Bibliography ==
	#Andrew Sarris, ''The American Cinema'', 52-56.		#Andrew Sarris, ''The American Cinema'', 52-56.

← Older revision		Revision as of 16:32, 23 February 2020
Line 1:		Line 1:
−	~~== Andrew Sarris, ''The American Cinema'' ==~~
−	~~#How does Sarris characterize Hawks' visual style?~~
−	~~#What does Sarris mean by "professionalism" and how have we seen that in Hawks's films (not ''His Girl Friday'')?~~
−
−	~~==Peter Wollen (in John Caughie, ed., ''Theories of Authorship'')==~~
−	#Wollen writes, "...by a process of comparison with other films, it is possible to decipher...a structure which underlies the film and shapes it.... It is this structure which ''auteur'' analysis disengages from the film" (146).
−	~~#*What does he mean by a "structure"? On the next page, he puts "Hawks" in quotation marks and refers to it (him?) as a structure. (Remember: Edward Buscombe quoted Wollen in last week's readings.)~~
−	~~#A lot of this essay contrasts the work of Howard Hawks with that of John Ford. What "master antinomy" does Wollen see in Ford's work (and what does "antinomy" mean?)?~~
−
−	~~==From ''Howard Hawks American Artist''==~~
−	~~===V. F. Perkins===~~
−	~~#What function does language serve in Hawks's comedies? How is that evident in ''Ball of Fire''?~~
−	~~#How does Hawks use humiliation in his comedies? How is that evident in ''Ball of Fire''?~~
−
−	~~===Lee Russell (Peter Wollen)===~~
−	~~#How does Russell characterize the Hawksian group?~~
−	~~#What aspects of Hawksian "professionalism" does Russell discuss?~~
−	~~#What does he believe are the two principal themes of Hawks's comedies?~~
−
−	~~===Naomi Wise===~~
−	~~#Wise sees Bonnie Lee in ''Only Angels Have Wings'' as the quintessential "Hawksian woman." What characteristics does she see associated with the Hawksian woman?~~
−	#Wise maintains that Hawks's films "frequently show a merging of sexual roles for the benefit of both sexes" (113). What does she mean by this? Have you seen evidence for this in the films we've watched (not ''His Girl Friday'')?
−	~~#In the end, Wise claims that "a central theme throughout Hawks is the shedding of sexual roles" (118). Do you agree?~~
−
−	~~===Jacques Rivette===~~
−	~~#According to Rivette, what is the relationship of Hawks's comedies and dramas? (It differs from what was discussed in lecture.)~~
−	~~#Rivette claims that Hawks "sticks to the same story--the intrusion of the inhuman... into a highly civilized society." Do you agree? Have you seen this in the films we've watched?~~
−
−	~~===André Bazin===~~
−	~~#How does Bazin defend the auteurist emphasis on the director?~~
−
	== Bibliography ==		== Bibliography ==
	#Andrew Sarris, ''The American Cinema'', 52-56.		#Andrew Sarris, ''The American Cinema'', 52-56.

@@ Line 1: / Line 1: @@
 == Andrew Sarris, ''The American Cinema'' ==
 #How does Sarris characterize Hawks' visual style?
 #What does Sarris mean by "professionalism" and how have we seen that in Hawks's films (not ''His Girl Friday'')?
 ==Peter Wollen (in John Caughie, ed., ''Theories of Authorship'')==
 #Wollen writes, "...by a process of comparison with other films, it is possible to decipher...a structure which underlies the film and shapes it....  It is this structure which ''auteur'' analysis disengages from the film" (146).
 #*What does he mean by a "structure"? On the next page, he puts "Hawks" in quotation marks and refers to it (him?) as a structure. (Remember: Edward Buscombe quoted Wollen in last week's readings.)
@@ Line 13: / Line 10: @@
 ==From ''Howard Hawks American Artist''==
 ===V. F. Perkins===
 #What function does language serve in Hawks's comedies? How is that evident in ''Ball of Fire''?
 #How does Hawks use humiliation in his comedies? How is that evident in ''Ball of Fire''?
 ===Lee Russell (Peter Wollen)===
 #How does Russell characterize the Hawksian group?
 #What aspects of Hawksian "professionalism" does Russell discuss?
@@ Line 24: / Line 19: @@
 ===Naomi Wise===
 #Wise sees Bonnie Lee in ''Only Angels Have Wings'' as the quintessential "Hawksian woman." What characteristics does she see associated with the Hawksian woman?
 #Wise maintains that Hawks's films "frequently show a merging of sexual roles for the benefit of both sexes" (113).  What does she mean by this? Have you seen evidence for this in the films we've watched (not ''His Girl Friday'')?
@@ Line 30: / Line 24: @@
 ===Jacques Rivette===
 #According to Rivette, what is the relationship of Hawks's comedies and dramas? (It differs from what was discussed in lecture.)
 #Rivette claims that Hawks "sticks to the same story--the intrusion of the inhuman... into a highly civilized society." Do you agree? Have you seen this in the films we've watched?
 ===André Bazin===
 #How does Bazin defend the auteurist emphasis on the director?

← Older revision		Revision as of 14:17, 23 April 2018
Line 53:		Line 53:
	##***In the body of the essay: (Wise 1996, 112)		##***In the body of the essay: (Wise 1996, 112)

−	[[Category:~~TCF440~~/~~540~~ Discussion]]	+	[[Category:JCM412/512 Discussion]]

@@ Line 1: / Line 1: @@
 == Andrew Sarris, ''The American Cinema'' ==
-'''Group 2'''
+'''All Groups'''
 #How does Sarris characterize Hawks' visual style?
 #What does Sarris mean by "professionalism" and how have we seen that in Hawks's films (not ''His Girl Friday'')?
 ==Peter Wollen (in John Caughie, ed., ''Theories of Authorship'')==
-'''Group 3:'''
+'''All Groups'''
 #Wollen writes, "...by a process of comparison with other films, it is possible to decipher...a structure which underlies the film and shapes it....  It is this structure which ''auteur'' analysis disengages from the film" (146).
@@ Line 13: / Line 13: @@
 ==From ''Howard Hawks American Artist''==
 ===V. F. Perkins===
-'''Group 4:'''
+'''Group 2:'''
 #What function does language serve in Hawks's comedies? How is that evident in ''Ball of Fire''?
 #How does Hawks use humiliation in his comedies? How is that evident in ''Ball of Fire''?
 ===Lee Russell (Peter Wollen)===
-'''Group 5:'''
+'''Group 3:'''
 #How does Russell characterize the Hawksian group?
 #What aspects of Hawksian "professionalism" does Russell discuss?
@@ Line 24: / Line 24: @@
 ===Naomi Wise===
-'''Groups 6 and 1:'''
+'''Group 4:'''
 #Wise sees Bonnie Lee in ''Only Angels Have Wings'' as the quintessential "Hawksian woman." What characteristics does she see associated with the Hawksian woman?
 #Wise maintains that Hawks's films "frequently show a merging of sexual roles for the benefit of both sexes" (113).  What does she mean by this? Have you seen evidence for this in the films we've watched (not ''His Girl Friday'')?
@@ Line 30: / Line 30: @@
 ===Jacques Rivette===
-'''All Groups:'''
+'''Group 1'''
 #According to Rivette, what is the relationship of Hawks's comedies and dramas? (It differs from what was discussed in lecture.)
 ===André Bazin===

← Older revision	Revision as of 21:31, 14 August 2019
(No difference)

@@ Line 49: / Line 49: @@
 ##*'''Sample "Works Cited" citation according to [http://libdata.lib.ua.edu/login?url=http://www.chicagomanualofstyle.org/ ''The Chicago Manual of Style'']:'''
 ##**Author-Date format (or you may use the "Notes and Bibliography" format):
-##***Wise, Naomi. 1996. "The Hawksian Woman." In ''Howard Hawks: American Artist'', edited by Jim Hillier and Peter Wollen, 111-119. London: British Film Institute.
+##***In the works cited: Wise, Naomi. 1996. "The Hawksian Woman." In ''Howard Hawks: American Artist'', edited by Jim Hillier and Peter Wollen, 111-119. London: British Film Institute.
-##***In the body of the essay, use: (Wise 1996, 112)
+##***In the body of the essay: (Wise 1996, 112)
 [[Category:TCF440/540 Discussion]]