Genre and Cinema: Ireland and TransnationalismBrian McIlroy Routledge, 2012 M08 6 - 304 páginas This impressive volume takes a broad critical look at Irish and Irish-related cinema through the lens of genre theory and criticism. Secondary and related objectives of the book are to cover key genres and sub-genres and account for their popularity. The result offers new ways of looking at Irish cinema. |
Dentro del libro
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Página 12
... aesthetic capable both of mass-mediating the experience of modernity and translation into widely different local and national conditions. These new directions, which acknowledge both the centrality of Hollywood and the sociocultural ...
... aesthetic capable both of mass-mediating the experience of modernity and translation into widely different local and national conditions. These new directions, which acknowledge both the centrality of Hollywood and the sociocultural ...
Página 13
... aesthetic affects, and thematic effects this involves. Thus genres become public sites in which social experience and aesthetic imaginings feed and negotiate with each other. The use of black/white contestants to complicate the ...
... aesthetic affects, and thematic effects this involves. Thus genres become public sites in which social experience and aesthetic imaginings feed and negotiate with each other. The use of black/white contestants to complicate the ...
Página 14
... aesthetic of justice,” melodrama's core lies in the confrontation between and recognition of polarized values: villainy requires not just victims, but innocents whose true nature and therefore resistance demands public recognition (see ...
... aesthetic of justice,” melodrama's core lies in the confrontation between and recognition of polarized values: villainy requires not just victims, but innocents whose true nature and therefore resistance demands public recognition (see ...
Página 15
... aesthetics, between politics and the figurations and fantasizing of imagination. Crucially, this conception of generic ... aesthetic attuned to the bodily and subjective experience of urbanization, industrialization, and new forms of ...
... aesthetics, between politics and the figurations and fantasizing of imagination. Crucially, this conception of generic ... aesthetic attuned to the bodily and subjective experience of urbanization, industrialization, and new forms of ...
Página 17
... aesthetic qualities, narrative possibilities, and, crucially, their role as visible ideological players. As Rick Altman (1999) suggests, national markers have become cinematically “genrified” and therefore open to the public games of ...
... aesthetic qualities, narrative possibilities, and, crucially, their role as visible ideological players. As Rick Altman (1999) suggests, national markers have become cinematically “genrified” and therefore open to the public games of ...
Contenido
1 | |
9 | |
PART II Genre Ireland and Hollywood | 59 |
PART III Transnational and transformational contexts | 109 |
PART IV Genre and the Irish short film | 149 |
PART V Jordan gothic horror | 177 |
PART VI Genre and the city film | 203 |
PART VII Northern Irish commemorative cinema | 231 |
Contributors | 273 |
Index | 277 |
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aesthetic Altman American argues audience Belfast Bloody Sunday Boxer boxing films Brendan Met Trudy British Celtic Tiger characters classic Hollywood colonial commemorative Company of Wolves conflict contemporary Irish context Cooper Cork critical Dancing at Lughnasa Danny depictions discourse documentary Dublin economic Éireville essay fantastic fiction Fifth Province Figure Film Genre film’s Ford’s Friel gangster genre films global Goldfish Memory gothic Hollywood genres hybrid ideological images indigenous Irish cinema Irish Film Archive Irish language Ivan Cooper Jim Sheridan Jordan’s films landscape London McIlroy McLoone Michael modern Mother’s movie narrative National Cinema Neil Jordan Northern Ireland ofthe Omagh past Permission courtesy perspective Pettitt Poitín political postcolonial postmodern Print Source production protagonist Quiet Reefer representation Rockett romantic comedy Rosaleen rural scene screen sexual Sheridan’s film shot social space specific story structures suggests tion traditional transnational University Press urban viewers violence visual Yu Ming