Cinema of Tony Richardson

James M. Welsh is Professor of English at Salisbury State University. He is the author of Peter Watkins: A Guide to References and Resources and the editor of Literature/Film Quarterly. John C. Tibbetts is Assistant Professor of Theatre and Film at the University of Kansas. He is the author of The American Theatrical Film: Stages in Development. Welsh and Tibbets are also coeditors of The Encyclopedia of Novels into Film.

• List of Illustrations Foreword Acknowledgments 1. Introduction: Running the DistanceJames M. Welsh 2. "Let's Talk about Tony": Interviews with Colleagues (Karel Reisz, Kevin Brownlow, David Watkin, and Angela Allen)John C. Tibbits and James M. Welsh 3. Breaking the Proscenium: Tony Richardson, the Free Cinema, the Royal Court, and Woodfall Films (Look Back in Anger [1959] and The Entertainer[1960])John C. Tibbetts 4. "Greatest Pleasures": A Taste of Honey (1961) and The Loneliness of the Long Distance Runner (1962)William L. Horne 5. Novelist verus Filmmaker: Richardson's Adaptations of Faulkner's Sanctuary (1961) and Waugh's Loved One (1965)Gene D. Phillips 6. Impossible Dreams: Mademoiselle (1966) and The Sailor from Gibraltar (1967)Rebecca M. Pauly 7. History Revisited: The Charge of the Light Brigade (1968)Linda Costanzo Cahir and Stephen Cahir 8. King of Infinite Space: Richardson's Hamlet (1969)Paul Meier 9. Narrative Voice and "Chorus on the Stage" in Tom Jones (1963)Judith Bailey Slagle and Robert Holtzclaw 10. Henry Fielding Revisited: Joseph Andrews (1977)James M. Welsh 11. Reflections on Class: Tom Jones (1963) and Joseph Andrews (1977)Kenneth S. Nolley 12. Revisiting and Re-Visioning: A Delicate Balance (1973) and The Hotel New Hampshire (1984)Edward T. Jones 13. American Contexts: A Delicate Balance (1973) to Blue Sky (1990-94)James M. Welsh and Bruce Hutchinson A Tony Richardson Filmography Selected Bibliography List of Contributors Index

"The Cinema of Tony Richardson provides a rounded portrait of a major English-language filmmaker who has been neglected by film historians. The book demonstrates that Richardson had a varied and interesting career—touching on the 'angry young man' period of British drama; the New Cinema of the 1960s; the French cultural icons Jean Genet, Jeanne Moreau, and Marguerite Duras; and evolving relationships among film, theater, and the novel." — Peter Lev, Towson University