Imaginar la identidad: de la comedia de Molière a la screwball comedy de Howard Hawks y Frank Capra by Rebeca Romero Escrivá, Javier Alcoriza Vento

“…Este texto plantea la lectura comparada de ciertos aspectos de dos comedias de Molière, El avaro y El enfermo imaginario, y las películas con las que arranca el género de la screwball comedy, La comedia de la vida (20th Century, Howard Hawks) y Sucedió una noche (It Happened One Night, Frank Capra), ambas de 1934. …”
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Estructuras y motivos del western en la road movie: Río Rojo vs. Las aventuras de Priscilla, reina del desierto by José Patricio Pérez Rufí

“…The present study analyzes in a concrete film, Howard Hawks's Red River, some of the constants present in the genre of western, to apply these mentioned plot and thematic motives to a film placed between the comedy and the road movie, The adventures of Priscilla, queen of the desert. …”
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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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A Book on the Making of Lonesome Dove, by John Spong by Matthew Carter

“…Its exponents in cinema have included such distinguished filmmakers as John Ford, Howard Hawks, Budd Boetticher, Sam Peckinpah and Clint Eastwood. …”
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Semejanzas entre Río Bravo y Sólo ante el peligro: la importancia de la música y la comunicación no verbal by Paula Requeijo Rey

“… El director norteamericano Howard Hawks realizó Río Bravo (1959) porque no le gustaba otro western, Sólo ante el peligro (Fred Zinnnemann, 1952). …”
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Performing gender in the studio and postmodern musical by Michael Charlton

“…The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. …”
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’The Italian Color’: Race, Crime Iconography and Dubbing Conventions in the Italian-language Versions of Scarface (1932) by Carla Mereu Keating

“…In the early 1930s the crime film Scarface: The Shame of a Nation (1932, USA, dir. Howard Hawks) stirred censorship controversies in the United States because of its gritty portrayal of criminality and violence. …”
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Remakes, actualizaciones y homenajes fílmicos en la obra cinematográfica de John Carpenter by Alfonso M. Rodríguez de Austria Giménez de Aragón, Andoni Iturbe Tolosa

“…Perteneciente a la generación de directores promotora del “nuevo Hollywood”, que renovó el cine estadounidense en los años 70 desde el punto de vista estético y empresarial (muchos de ellos eran a la vez directores y productores, algo poco común en el Hollywood clásico), Carpenter se sirvió del cine clásico como fuente de inspiración, especialmente de la obra de su admirado Howard Hawks, al quien homenajea en varias ocasiones. …”
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Possible sensations by Shin, Yae Jin

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