Description
Book SynopsisThis 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.
Table of ContentsList 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
