Introduction R. Barton Palmer and William Robert Bray; 1. 'That filth from which the glamour is not even yet departed': adapting Journey's End Lawrence Napper; 2. Playful banter in Shaw's Pygmalion Douglas McFarland; 3. Knowing your place: David Lean's film adaptation of Noel Coward's This Happy Breed Neil Sinyard; 4. The Browning Version revisited Marcia Landy; 5. Screening for serious people a trivial comedy: Wilde's The Importance of Being Earnest Tom Ryall; 6. The British New Wave begins: Richardson's Look Back in Anger Steve Nicholson; 7. The shift from stage to screen: space, performance, and language in The Knack ... and How to Get It Christine Geraghty; 8. See-thru desire and the dream of gay marriage: Orton's Entertaining Mr Sloane on stage and screen James Campbell; 9. Sleuth on screen: adapting masculinities Monika Pietrzak-Franger; 10. Educating Rita and the Pygmalion effect: gender, class, and adaptation anxiety Cynthia Lucia; 11. The madness of Susan Traherne: adapting Hare's Plenty Tiffany Gilbert; 12. 'A Tom Stoppard film': agency and adaptation in Rosencrantz and Guildenstern Are Dead Elizabeth Rivlin; 13. Rewriting history: Alan Bennett's collaboration with Nicholas Hytner on the adaptations of The Madness of George III and The History Boys Joseph H. O'Mealy; Filmography.
Introduction R. Barton Palmer and William Robert Bray; 1. 'That filth from which the glamour is not even yet departed': adapting Journey's End Lawrence Napper; 2. Playful banter in Shaw's Pygmalion Douglas McFarland; 3. Knowing your place: David Lean's film adaptation of Noel Coward's This Happy Breed Neil Sinyard; 4. The Browning Version revisited Marcia Landy; 5. Screening for serious people a trivial comedy: Wilde's The Importance of Being Earnest Tom Ryall; 6. The British New Wave begins: Richardson's Look Back in Anger Steve Nicholson; 7. The shift from stage to screen: space, performance, and language in The Knack ... and How to Get It Christine Geraghty; 8. See-thru desire and the dream of gay marriage: Orton's Entertaining Mr Sloane on stage and screen James Campbell; 9. Sleuth on screen: adapting masculinities Monika Pietrzak-Franger; 10. Educating Rita and the Pygmalion effect: gender, class, and adaptation anxiety Cynthia Lucia; 11. The madness of Susan Traherne: adapting Hare's Plenty Tiffany Gilbert; 12. 'A Tom Stoppard film': agency and adaptation in Rosencrantz and Guildenstern Are Dead Elizabeth Rivlin; 13. Rewriting history: Alan Bennett's collaboration with Nicholas Hytner on the adaptations of The Madness of George III and The History Boys Joseph H. O'Mealy; Filmography.
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