Tony Richardson

Before trying to address this question we should discuss the concept of " realism ". The realist tradition always tries to showcase the world the way it really is. It usually focuses primarily on the working-class, is unapologetically political and has a left tendency. Nonetheless, we should not think about realism as a style. As John Berger says, each time an art form has a need to revitalise after a formalist period, artists return to reality, but their attitude towards it and the way they interpret it changes in order to adapt itself to the moment's necessities. Hence, we cannot talk about a " realist style " nor assume it as a conformist comeback to a previous realist tradition (Berger, 2001). The British cinema from the late 50s and early 60s suffered a great change and it gave birth to what we now know as " free cinema " or " the British new wave ". This new cinema was committed to showing the reality of British people that were not usually represented in films. One of its greatest influences was documentarist Humphrey Jennings, for his work didn't just care for the political content but also for the aesthetics. This way, the new cinema relied not only on realism but also on the poetic movement, where the political is nuanced and the personal, emphasized. This is a characteristic that should be stressed because it has a great impact in the way these films have portrayed the working class culture and it will be considered further on in this essay. The UK was at this time going through a period of what political leaders called " affluence ". After the austerity that followed WWII, the wages were rising, there was plenty of consumer goods available, etc. Some believed the working class was becoming a new middle class, a process which was called " embourgeoisement " , and although social differences had not disappeared, the general political motto was Macmillan's " you've never had it so good " (Murphy, 1992). The first area in the culture that responded to this was theatre. Authors like John Osborne, Colin Wilson, John Wain, etc. wrote plays in which they criticised the changes that had come along with the new consumerism. They were known as the " Angry young men " and they were a great influence on the Free Cinema. The Free cinema showed two conflictive views on the working class: on the one hand, it respected the traditional working class and the idea that the part must subordinate to the whole and on the other one, it showed the decline of the working class, caused by an economic emancipation at the expense of a cultural subjection to the hollow banalities of mass entertainment. One of the main concerns for the Free Cinema, as it had been for the theatre scene, was the unease about the quality of leisure in urban society. Some authors argue that this movement's focus on the cultural side of things led to a not so accurate nor radically new representation of the working-class.

An examination of the relationship between theatre and film that focuses on the work of figures associated with the postwar British theatre but whose film work was often understood in terms of horror. In particular, it examines the ways in which their work was understood as shocking audiences through a confrontation with repressed materials and as narratively staging conflicts between protagonists that represent conflicting ideas. In other words, these stories were often understood as staging battles between characters that sought to assert domination and control over their adversaries, battles that often featured psychological cruelty and destructiveness.

This article examines British director Tony Richardson's international version of Ned Kelly (1970) in the context of international Australian films and the national Australian cinema. Ever since Richardson was given government assistance to produce a film about the Australian bushranger Ned Kelly, pressure to help the local industry had been mounting, especially considering that Richardson's film undercut some local productions under consideration. Outraged that a British director would be allowed to make a film about an Australian national hero when its own directors were begging for such opportunities, locals responded to Richardson and star Mick Jagger's arrival in Australia with great resentment. By looking equally at Richardson's calamitous making of the first international Kelly production, and the state of the Australian film industry, this article discusses Ned Kelly as a cautionary tale about foreigners making films about historical Australian subjects. From start to finish, Ned Kelly was a disaster, and never again would an international production be given the same concessions as were granted to Tony Richardson.

Análisis del film "La soledad del corredor de fondo" (Tony Richardson, 1962) y su banda sonora compuesta por John Addison. Cuadernos de Jazz, nº 110, enero/febrero de 2009, pp. 44-49.  [ISSN 1134-7457]

· Índice del nº 110: https://cuadernos.cuadernosdejazz.es/index.php/cdj/issue/view/129

· Artículo indexado en Google Scholar y en la base de datos de la Fundación Dialnet (Hemeroteca de artículos científicos hispanos de la Universidad de La Rioja): https://dialnet.unirioja.es/servlet/articulo?codigo=3060129

Análisis del film "Look back in anger" ("Mirando hacia atrás con ira", Tony Richardson, 1959). Cuadernos de Jazz nº 121, Noviembre/Diciembre, 2010, pp. 40-45. [ISSN 1134-7457]

· Índice del nº 121: https://cuadernos.cuadernosdejazz.es/index.php/cdj/issue/view/138

· Artículo indexado en Google Scholar y en la base de datos de la Fundación Dialnet (Hemeroteca de artículos científicos hispanos de la Universidad de La Rioja): https://dialnet.unirioja.es/servlet/articulo?codigo=3328423

Esta ponencia se concentra en un análisis del Free Cinema, procurando identificar las modificaciones que introdujo en el proceso de producción cinematográfica, su dimensión política y su afinidad con la reformulación crítica del marxismo  emprendida por la Escuela de Birmingham. El Free Cinema es una corriente cinematográfica surgida en Gran Bretaña a mediados de la década de 1950, cuyas intenciones originales fueron explicitadas a través de una serie de manifiestos que acompañaron las primeras proyecciones del grupo. El manifiesto, punto de encuentro de las pasiones políticas y los impulsos estéticos, constituye un corpus privilegiado para iniciar un estudio de la articulación entre ambas dimensiones que luego se concentrará en las producciones audiovisuales. En primera instancia, la ponencia da cuenta de las rupturas formales y temáticas que caracterizan la irrupción del Free Cinema dentro del cine británico. A continuación, explora particularmente las transformaciones que supuso en los modos de representar y relacionarse con la clase obrera. Nos interesa rastrear cómo se manifiesta, en ese vínculo, un conjunto de asociaciones valorativas ligadas a formas específicas de alineamiento y compromiso político que colocan al Free Cinema en las proximidades de los Estudios Culturales