This first full-length critical analysis of the Czech-born, British director, Karel Reisz uses recent interdisciplinary methodologies to explore the crisis of political commitment and historical displacement in the context of the 1960s and '70s counter-culture.
This first full-length critical analysis of the Czech-born, British director, Karel Reisz uses recent interdisciplinary methodologies to explore the crisis of political commitment and historical displacement in the context of the 1960s and '70s counter-culture.
Colin Gardner is Professor of Critical Theory and Interdisciplinary Media at the University of California, Santa Barbara.
Inhaltsangabe
List of figures Series Editors' foreword Acknowledgements 1. Introduction: Karel Reisz, 'The last great man in England' 2. Reisz the critic 3. Free Cinema and the New Left: Momma Don't Allow (1956), We Are The Lambeth Boys (1959) and March to Aldermaston (1959) 4. 'Kitchen Sink' realism and the birth of the British 'New Wave': Saturday Night and Sunday Morning (1960) 5. Keeping up with the Truffauts: Night Must Fall (1964) 6. Gorilla war: Morgan - A Suitable Case for Treatment (1966) 7. Life into art - Reisz and the 'bio-pic': Isadora (1968) and Sweet Dreams (1985) 8. Reisz in Hollywood: deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/Who'll Stop The Rain (1978) 9. A sentimental education: The French Lieutenant's Woman (1981) 10. Theatre of the absurd: Arthur Miller's Everybody Wins (1990) and Samuel Beckett's Act Without Words I (2000) 11. Conclusion Appendix Theatre credits and filmography Bibliography
List of figures Series Editors' foreword Acknowledgements 1. Introduction: Karel Reisz, 'The last great man in England' 2. Reisz the critic 3. Free Cinema and the New Left: Momma Don't Allow (1956), We Are The Lambeth Boys (1959) and March to Aldermaston (1959) 4. 'Kitchen Sink' realism and the birth of the British 'New Wave': Saturday Night and Sunday Morning (1960) 5. Keeping up with the Truffauts: Night Must Fall (1964) 6. Gorilla war: Morgan - A Suitable Case for Treatment (1966) 7. Life into art - Reisz and the 'bio-pic': Isadora (1968) and Sweet Dreams (1985) 8. Reisz in Hollywood: deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/Who'll Stop The Rain (1978) 9. A sentimental education: The French Lieutenant's Woman (1981) 10. Theatre of the absurd: Arthur Miller's Everybody Wins (1990) and Samuel Beckett's Act Without Words I (2000) 11. Conclusion Appendix Theatre credits and filmography Bibliography
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