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The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
ULUSLARARASI AVRASYA SOSYAL BİLİMLER DERGİSİ MART/MARCH Yıl/Year: 6, Cilt/Vol:6, Sayı/Issue: 18 2015
ULUSLARARASI AVRASYA SOSYAL BİLİMLER DERGİSİ MART/MARCH Yıl/Year: 6, Cilt/Vol:6, Sayı/Issue: 18 2015 ALIENATION IN ROOM AT THE TOP: JOE LAMPTON’S TRANSFORMATION INTO THE STEREOTYPICAL OTHERS OF HIS MIND Mustafa DEMİREL Arş. Gör. Ege Edebiyat Fakültesii İngiliz Dili ve Edebiyatı, [email protected] ABSTRACT Throughout this study, Joe Lampton is examined as a model hero of the "Angry Young Men" movement in the post-war Britain. In the first place, the movement and its basic notions are explained; then, the attention is directed to the patterns of hero of the 1950s' fictions. After the reasons of alienation for those models of hero are posed, the paper deals with Joe Lampton's particular case of disappointment and alienation. For the rest part of the study, Joe Lampton's psyche, which is full of self-created imaginary conceptions, is at the center. Through a comparative stance to his past and present mindset, it is claimed that after a while, the protagonist becomes the victim of his own stereotypical characters. The dilemma between his lower status based on his past and his new identity adopted among the upper classes brings about an ambiguity for both the identity of the protagonist and the end of the story. Key Words: Alienation, angry young men, class, identity, stereotype. TEPEDEKİ ODA'DAKİ YABANCILAŞMA: JOE LAMPTON'IN ZİHNİNDEKİ STEREOTİP ÖTEKİLERE DÖNÜŞÜMÜ ÖZET Bu çalışmada, Joe Lampton savaş sonrası İngiltere'sindeki "Öfkeli Genç Adamlar" hareketinin kahraman modeli olarak incelenir. İlk olarak hareket ve onun temel kavramları açıklanır, daha sonra 1950'lerin romanlarının kahraman modellerine dikkat çekilir. -
An Overview of the Working Classes in British Feature Film from the 1960S to the 1980S: from Class Consciousness to Marginalization
An Overview of the Working Classes in British Feature Film from the 1960s to the 1980s: From Class Consciousness to Marginalization Stephen C. Shafer University of Illinois Abstract The portrayal of the working classes has always been an element of British popular film from the comic music hall stereotypes in the era of Gracie Fields and George Formby in the 1930s to the more gritty realism of the “Angry Young Man” films that emerged in the 1950s and 1960s. Curiously, in the last thirty years, the portrayal of the working classes in popular film has become somewhat less sharply drawn and more indistinct. In an odd way, these changes may parallel criticisms directed toward politicians about a declining sense of working-class unity and purpose in the wake of the Margaret Thatcher and post-Thatcher eras. When noted English film director and commentator Lindsay Anderson was asked to contribute an overview article on the British cinema for the 1984 edi- tion of the International Film Guide, he ruefully observed that from the per- spective of 1983 and, indeed, for most of its history, “British Cinema [has been] . a defeated rather than a triumphant cause.”1 Referring to the perennial fi- nancial crises and the smothering effect of Hollywood’s competition and influ- ence, Anderson lamented the inability of British films to find a consistent na- tional film tradition, adding that “the British Cinema has reflected only too clearly a nation lacking in energy and the valuable kind of pride . which cher- ishes its own traditions.”2 In particular, Anderson observed that when, on occa- sion, the British film industry had attempted to address the interests and needs of its working classes, the “aims” of the film-makers “were not supported . -
Frenchlieutenantswom
Virtual April 6, 2021 (42:10) Karel Reisz: THE FRENCH LIEUTENANT’S WOMAN (1981, 124 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the virtual BFS Vimeo link for our introduction to The French Lieutenant’s Woman Zoom link for all Spring 2021 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Directed by Karel Reisz Based on the novel by John Fowles Screenplay by Harold Pinter Produced by Leon Clore Original Music by Carl Davis Cinematography by Freddie Francis Liz Smith....Mrs. Fairley The film was nominated for five Oscars, including Patience Collier....Mrs. Poulteney Best Actress in a Leading Role (Meryl Streep) and David Warner....Murphy Best Writing, Screenplay Based on Material from Another Medium (Harold Pinter), at the 1982 Karel Reisz (21 July 1926, Ostrava, Academy Awards. Czechoslovakia—25 November 2002, London, England) directed 13 theatrical and tv films: “Act Meryl Streep....Sarah/Anna Without Words I” (2000), The Deep Blue Sea (1994), Jeremy Irons....Charles Henry Smithson/Mike Everybody Wins (1990), Sweet Dreams (1985), The Hilton McRae....Sam French Lieutenant's Woman (1981), Who'll Stop the Emily Morgan....Mary Rain (1978), The Gambler (1974), Isadora (1968), Charlotte Mitchell....Mrs. Tranter Morgan (1966), Night Must Fall (1964), Saturday Lynsey Baxter....Ernestina Night and Sunday Morning (1960), We Are the Jean Faulds....Cook Lambeth Boys (1958) and Momma Don't Allow Peter Vaughan ....Mr. -
Another, More Sinister Reality Jbftv
‘Another, More Sinister Reality’ (D.W., 1967): Class, Youth and Psychopathology from Saturday Night and Sunday Morning (1960) to Endless Night (1972) As has been argued elsewhere, the ‘“working class realism’ (Hill, 1986: 2) that started with Room at the Top (1959) emerged shortly after Hammer’s Curse of Frankenstein (1957), and had a strong relationship to horror from the start (Jancovich, forthcoming). In fact, key directors of working class realism experimented with horror; and both Clayton and Reisz followed their breakthrough films (Room at the Top and Saturday Night and Sunday Morning, 1960) with horror projects (The Innocents, 1961, and Night Must Fall, 1964). As early as 1963, then, reviews were claiming: While it would be early to proclaim that realism is dead in the new British cinema, it is noticeable that during the last year or so many of our newer directors have shown signs that they no longer find it enough. Mr. Jack Clayton has moved from Room at the Top to The Innocents. Mr. Tony Richardson from Look Back in Anger to Tom Jones, and the most notable recent recruits to the feature film [have started] by firmly throwing realism out of the window ... (Anona, 1963) If some filmmakers turned to horror due to a dissatisfaction with realism – ‘they no longer find it enough’ – the nature of this dissatisfaction explains the choice of horror as an alternative. In his discussion of working class realism, John Hill identifies a tension between description and narration, or between the depiction of the objective environments within which characters were located and the subjective worlds of those characters (Hill, 1986). -
“Working-Class Hero Is Something to Be”, John Lennon Sings, and He Might Mean
FROM ANGRY YOUNG SCHOLARSHIP BOY TO MALE ROLE MODEL:THE RISE OF THE WORKING-CLASS HERO SEBASTIAN MÜLLER Abstract “Working-Class Hero is something to be”, John Lennon sings, and he might mean: “at least something.” Thus it becomes understandable that the “original angry young men” Jimmy Porter (John Osborne’s Look Back in Anger) and Joe Lampton (John Braine’s Room at the Top) fall back on this mythologically charged mode of subcultural subject formation. And a closer look reveals that both are not only in a class, but also a gender conflict. Both of them produce themselves as typical working-class heroes, a subcultural male subject form that gains further influence through protagonists like Alan Sillitoe’s Arthur Seaton (in his bestselling Saturday Night and Sunday Morning). As a consequence, the working-class hero slowly but unstoppably steps out of the depths of his former realms into the light of social attention, becoming a male role-model to believe in, and thus becoming some- thing to really be. In a modern or postmodern world of shifting identi- ties, the working-class hero provides a very simple but effectively re- affirming mode of male identity formation; a mode of subject for- mation that, as we shall see, even gains global influence through one outstanding and very specific product of mass media representation: James Bond. When John Osborne’s Look Back in Anger was first performed at the Royal Court Theatre in London on May 8th, 1956, and Kenneth Haigh hit the stage as a “working class Hamlet”1 Jimmy Porter, a new era for 1 This phrase is used on the back cover of the current Penguin paperback edition. -
English S24. British New Wave Film Steve Dillon Office Hours: Tuesday
English s24. British New Wave Film Steve Dillon Office hours: Tuesday 9-10 and by appointment Pettigrew 307 Course Description: This course studies significant achievements in British cinema from the late 1950s to the early 1970s. Many national cinemas underwent a liberating change in the 1960s, usually called by the name, “New Wave.” British cinema in the 60s is not as influential as the French New Wave (nouvelle vague) exemplified by Godard, Truffaut, Rivette, Chabrol, and others. Yet there are many important and interesting British films from this period, by directors such as Joseph Losey, Lindsay Anderson, and John Schlesinger. In this course we will look at films by auteurs such as Michael Powell, “kitchen sink” films by Jack Clayton and Karel Reisz, “swinging London” films by Richard Lester and Nicolas Roeg, in addition to masterpieces by foreign artists such as Stanley Kubrick and Michelangelo Antonioni. Schedule M April 26 Robert Hamer, Kind Hearts and Coronets (1949) T 27 Mike Hodges, Get Carter (1971) W 28 Michael Powell, Peeping Tom (1960) Th 29 Joseph Losey, The Servant (1963) M May 3 Richard Lester, A Hard Day’s Night (1964) T 4 Richard Lester, The Knack. And How to Get It (1965) W 5 Nicolas Roeg, Performance (1970) Th 6 Michelangelo Antonioni, Blow-Up (1966) M May 10 Jack Clayton, Room at the Top (1958) T 11 Karel Reisz, Saturday Night and Sunday Morning (1960) W 12 John Schlesinger, Billy Liar (1963) Th 13 Desmond Davis, Girl With Green Eyes (1964) F 14 (Final Project Proposals Due) M May 17 Stanley Kubrick, Dr. -
1.5 the Emergence of Angry Young Men′S Literature
The Political and Social Reality of Post World War II in Britain as Reflected in the Novel Room at the Top by John Braine ﺍﻧﻌﻜﺎﺳﺎت اﻷوﺿﺎع اﻟﺴﻴﺎﺳﻴﺔ و اﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ اﻟﺮواﻳﺔ اﻻﻧﺠﻠﻴﺰﻳﺔ ﺑﻌﺪ اﻟﺤﺮب اﻟﻌﺎﻟﻤﻴﺔ اﻟﺜﺎﻧﻴﺔ آﻤﺎ ﺻﻮرﺗﻬﺎ رواﻳﺔ ﺟﻮن ﺑﺮﻳﻦ: ﻣﻜﺎن ﻓﻲ اﻟﻘﻤﺔ Prepared by: Waad Suleiman Al-Zoubi Supervised by: Dr. Sabbar S. Sultan A thesis Submitted in Partial Fulfillment of the Requirements For Master of Arts in English Language and Literature Department of English Language and Literature Faculty of Arts and Sciences Middle East University December, 2012 II III IV Acknowledgments I am grateful to my supervisor Dr. Sabbar Sultan for both his precious guidance and valuable time. I would like to express my gratitude to the examining committee members, Prof. Ekbal Al-Jabbari and Dr. Nayera El Miniawi for their dedicated work and valuable comments. Thanks are also extended to the faculty members of the Department of English at Middle East University. I wish to thank my husband for his support both morally and financially towards the completion of this thesis. V Dedications I dedicate this humble thesis to my country Syria and to the Syrians. I dedicate it to the soul of my beloved late father, my precious mother and family. I also dedicate the thesis to my beloved husband for both his patience and support; and to all the people who helped me to complete this thesis. VI Table of Contents Thesis Title………………………………………………… i Authorization……………………………………………… ii Thesis Committee Decision……………………………….. iii Acknowledgments………………………………………… iv Dedications………………………………………………… v Table of Contents………………………………………….. vi-viii Arabic Abstract……………………………………………. ix English Abstract……………………………………………. -
Durham E-Theses
Durham E-Theses From the `freedom of the streets': a biographical study of culture and social change in the life and work of writer Jack Common (1903-1968) Armstrong, Keith How to cite: Armstrong, Keith (2007) From the `freedom of the streets': a biographical study of culture and social change in the life and work of writer Jack Common (1903-1968), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2136/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 r FROM THE FREEDOM OF THE STREETS': A biographical study of culture and social change in the life and work of writer Jack Common (1903-1968) The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. -
Angry Young Men -- Britannica Online Encyclopedia Angry Young Men
2/25/2021 Angry Young Men -- Britannica Online Encyclopedia Angry Young Men Angry Young Men, various British novelists and playwrights who emerged in the 1950s and expressed scorn and disaffection with the established sociopolitical order of their country. Their impatience and resentment were especially aroused by what they perceived as the hypocrisy and mediocrity of the upper and middle classes. The Angry Young Men were a new breed of intellectuals who were mostly of working class or of lower middle- class origin. Some had been educated at the postwar red- brick universities at the state’s expense, though a few were from Oxford. They shared an outspoken Saturday Night and Sunday irreverence for the British class system, its traditional Morning network of pedigreed families, and the elitist Oxford and Lobby card for Saturday Night and Sunday Morning (1960), starring Cambridge universities. They showed an equally Albert Finney. uninhibited disdain for the drabness of the postwar Woodfall Film Productions welfare state, and their writings frequently expressed raw anger and frustration as the postwar reforms failed to meet exalted aspirations for genuine change. The trend that was evident in John Wain’s novel Hurry on Down (1953) and in Lucky Jim (1954) by Kingsley Amis was crystallized in 1956 in the play Look Back in Anger, which became the representative work of the movement. When the Royal Court Theatre’s press agent described the play’s 26-year-old author John Osborne as an “angry young man,” the name was extended to all his contemporaries who expressed rage at the persistence of class distinctions, pride in their lower-class mannerisms, and dislike for anything highbrow or “phoney.” When Sir Laurence Olivier played the leading role in Osborne’s second play, The Entertainer (1957), the Angry Young Men were acknowledged as the dominant literary force of the decade. -
Kitchen Sink Drama and Naturalism: Trends of Post-War English Theatre
The Journal of Applied Linguistics and Applied Literature: Dynamics and Advances, Volume 8, Issue 1, Winter and Spring, 2020, pp. 139-149 Kitchen Sink Drama and Naturalism: Trends of Post-War English Theatre Nazila Heidarzadegan (Corresponding Author), Assistant Professor of English Language and Literature, Dept. of Western Languages and Literatures, Karabuk University, Karabuk, Turkey Emails: [email protected]; [email protected] Zeynep Kury Yıldız, MA Students of English Language and Literature, Dept. of Western Languages and Literatures, Karabuk University, Karabuk, Turkey Email: [email protected] Abstract The present paper studies Kitchen Sink Drama and Naturalism to investigate how a cultural movement through which artists like Arnold Wesker, John Osborne, and Shelagh Delaney express their disillusionment during the post-war period representing the reality of their lives via theatre. The period of 1956–1965 can be considered as a period of time identifying post-war British theatre which is related to post-war cultural, social, and political developments. In this period, playwrights take a social stance which reflects daily experiences of working class undergoing social and political changes in that time. Following the destructive consequences of the First and Second World Wars social, religious, and political alterations resulted in unemployment, insecurity, and frustration in society, especially among young educated people who returned from the war. The Kitchen Sink Drama is a peculiar type of drama for plays -
War Cinema– Or How British Films Learned to Stop Worrying and Love the Affluent Society
1 THE PROFESSIONAL OFFICER CLASS IN POST- WAR CINEMA– OR HOW BRITISH FILMS LEARNED TO STOP WORRYING AND LOVE THE AFFLUENT SOCIETY A thesis submitted for the degree of Doctor of Philosophy by Andrew Roberts College of Business, Arts and Social Sciences of Brunel University 22nd September2014 2 ABSTRACT My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society.