An Austrian in Hollywood: the representation of foreigners in the films of Billy Wilder by Delia Chiaro, Giuseppe De Bonis

“…This paper examines the work of Billy Wilder whose rich cinematic production frequently involves the collision of different languages as well as the clash of dissimilar cultures. …”
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Stanley Cavell, Classical Hollywood and the Constitution of the Ordinary (With Notes on Billy Wilder) by Tatjana Jukić

Subjects: “…Stanley Cavell, classical Hollywood, the ordinary, psychoanalysis, Gilles Deleuze, Billy Wilder…”
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El bloqueo del escritor en Días sin huella (The Lost Weekend, Billy Wilder, 1945) by Juan Carlos Pueo

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El Gran Carnaval de Billy Wilder. Una advertencia sobre las historias de interés humano by Simón Peña Fernández

“…Para ambientar su obra más personal, Billy Wilder escogió una profesión que conocía a la perfección, pues antes de dedicarse al mundo del cine trabajó como reportero en varios diarios de Viena y Berlín. …”
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Paixão e redenção. Double Indemnity (Pagos a dobrar), de James M. Cain e Billy Wilder by Maria José Figueiredo

“…Um desses contos era Double Indemnity, com base no qual Billy Wilder escreveu e realizou um filme com o mesmo título (Pagos a Dobrar, em português), que sairia em 1944. …”
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De la porte de Brandebourg à La Havane : Wilder, Hitchcock et l’héritage révolutionnaire by Julie Michot

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Algo más que papel. Las funciones fílmicas de la prensa en el cine de Billy Wilder by Simón Peña-Fernández

“…Los medios de comunicación, en particular la prensa, tuvieron una importante presencia en la obra fílmica de Billy Wilder, no sólo por el espacio que dedico a representar su labor en la gran pantalla, sino también por los usos fílmicos y narrativos que les reservó en sus guiones. …”
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Con faldas y a lo Wilder. Impacto y superación del Código Hays en 'Some Like It Hot' (1959), de Billy Wilder by Álvaro Martín Sanz

Subjects: “…Billy Wilder…”
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CMS.S61 Special Subject: The Rise of Film Noir, January IAP 2012 by Marks, Martin

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Some like it hot by Ruth M. Mestre i Mestre

“…I propose to clarify concepts and discuss cisheteronormativity with Billy Wilder's Some Like it Hot (1959).…”
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Variazioni sul tema: i casi di “The Front Page” by Lapo Gresleri

“…This is what this essay proposes, examining “The Front Page” by Lewis Milestone (1931), “His Girl’s Friday” by Howard Hawks (1940) and “The Front Page” by Billy Wilder (1974), all derived from a famous play by Ben Hecht and Charles MacArthur (1928).…”
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¿Máquinas de amar? Sexo y violencia en la literatura y el arte norteamericanos de los sesenta by Nieves Alberola Crespo

“…Alan Jones's disturbing works and films like The Seven Year Itch of Billy Wilder show how the male gaze builds and destroys women.…”
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Criminal Courts in England and the United States: A comparative approach to fictional representations as portrayed by two classic examples of courtroom films: Witness for the Prose... by Anne-Laure Dubrac

“…The objective of this paper is to analyse and compare representations of the legal systems of England and the United States in two courtroom films: Witness for the Prosecution (1957) by Billy Wilder and Anatomy of a Murder (1959) by Otto Preminger. …”
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How old is Miss Havisham? by Marta Miquel Baldellou

“… The characters of Miss Havisham in Charles Dickens’s Great Expectations and Norma Desmond in Billy Wilder’s Sunset Boulevard address a matrix of age, gender, and performance through significant points of intertextuality. …”
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Barbara Stanwyck's Anklet by Paula Rabinowitz

“…Cuando la “femme fatale” Phyllis Dietrichson (Barbara Stanwyck), por ejemplo, desciende la escalera para encontrarse con el corredor de seguros Walter Neff (Fred Mc Murray) en la película de Billy Wilder Persuasión (1944), la cámara enfoca sus piernas blancas y relucientes hasta alcanzar sus pies y sus tobillos, con el fin de evocar el poder fetichista del pie de una mujer a la hora de controlar a un hombre.…”
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Sisyphean Unproductivity in Narrative Film by Juan Velasquez

“…Using this theoretical framework, I carry out a comparative and formal analysis of Sisyphus (Marcell Jankovics, 1974), Modern Times (Charles Chaplin, 1936), The Apartment (Billy Wilder,1960), Saut ma ville (Chantal Akerman, 1971) and Dancer in the Dark (Lars von Trier, 2000). …”
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Епистемологија изгубљености: одређене духовне вертикале у америчким noir филмовима by Stefan Sinanović

“…In order to demonstrate this fact, the author analyzed several distinguished noir films, such as Billy Wilder’s Double Indemnity (1944) and Sunset Boulevard (1950), Orson Welles’ Touch of Evil (1958), Nicholas Ray’s In a Lonely Place (1950), Jacques Toruneur’s Out of the Past (1947), Charles Laughton’s Night of the Hunter (1955), etc. …”
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Dial M for Markham, McNutley and the Milland Show: Remaking and Reimagining Ray Milland’s Established Cinematic Image for 1950s Television by Gillian Kelly

“…His rise to stardom was particularly slow, his first leading man role was in his thirty-fourth film, The Jungle Princess (Wilhelm Thiele, 1936), and won his only Academy Award for his sixtieth film, The Lost Weekend (Billy Wilder, 1945). After twenty-one years at Paramount, and with his ‘stardom years’ behind him, Milland became an independent agent and began appearing regularly on television, firstly starring in all 77 episodes of the situation comedy Meet Mr McNutley, a role he concurrently portrayed on radio. …”
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