Modern British Drama on Screen

doi:10.1017/CBO9780511734311

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Park-Finch, Heebon and Chung, Moonyoung 2019. “Let Right Be Done”: Historical Distinctiveness in Three Screen Adaptations of Terence Rattigan’sThe Winslow Boy. English Studies, Vol. 100, Issue. 6, p. 665.

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Edited by R. Barton Palmer, Clemson University, South Carolina, William Robert Bray, Middle Tennessee State University

Publisher:: Cambridge University Press
Online publication date:: December 2013
Print publication year:: 2013
Online ISBN:: 9780511734311
DOI:: https://doi.org/10.1017/CBO9780511734311

Subjects:: Literature, English Literature 1900-1945

90.00 (GBP)

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This collection of essays offers the first comprehensive treatment of British and American films adapted from modern British plays. Offering insights into the mutually profitable relationship between the newest performance medium and the most ancient. With each chapter written by an expert in the field, Modern British Drama on Screen focuses on key playwrights of the period including George Bernard Shaw, Somerset Maugham, Terence Rattigan, Noel Coward and John Osborne and the most significant British drama of the past century from Pygmalion to The Madness of George III. Most chapters are devoted to single plays and the transformations they underwent in the move from stage to screen. Ideally suited for classroom use, this book offers a semester's worth of introductory material for the study of theater and film in modern Britain, widely acknowledged as a world center of dramatic productions for both the stage and screen.

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Modern British Drama on Screen

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Modern British Drama on Screen - Half title page
pp i-ii

Modern British Drama on Screen - Title page
pp iii-iii

Copyright page
pp iv-iv

Contents
pp v-vi

Illustrations
pp vii-x

Notes on contributors
pp xi-xiv

Introduction
pp 1-11

Chapter 1 - “That filth from which the glamour is not even yet departed”: adapting Journey’s End
pp 12-30

Chapter 2 - Playful banter in Shaw’s Pygmalion
pp 31-43

Chapter 3 - Knowing your place: David Lean’s film adaptation of Noël Coward’s This Happy Breed
pp 44-61

Chapter 4 - The Browning Version revisited
pp 62-84

Chapter 5 - Screening for serious people a trivial comedy: Wilde’s The Importance of Being Earnest
pp 85-102

Chapter 6 - The British New Wave begins: Richardson’s Look Back in Anger
pp 103-120

Chapter 7 - The shift from stage to screen: space, performance, and language in The Knack . . . and How to Get It
pp 121-144

Chapter 8 - See-thru desire and the dream of gay marriage: Orton’s Entertaining Mr. Sloane on stage and screen
pp 145-168

Chapter 9 - Sleuth on screen: adapting masculinities
pp 169-191

Chapter 10 - Educating Rita and the Pygmalion effect: gender, class, and adaptation anxiety
pp 192-215

Chapter 11 - The madness of Susan Traherne: adapting David Hare’s Plenty
pp 216-235

Chapter 12 - “A Tom Stoppard Film”: agency and adaptation in Rosencrantz & Guildenstern Are Dead
pp 236-257

Chapter 13 - Rewriting history: Alan Bennett’s collaboration with Nicholas Hytner on the adaptations of The Madness of George III and The History Boys
pp 258-278

Filmography
pp 279-284

Index
pp 285-292

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Modern British Drama on Screen

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