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
Resultados 1-5 de 44
Página 1
... context. How has a small, yet politically divided, mostly English-speaking country been able to flourish culturally while flanked on one side by British concerns and on the other by American cultural dominance? What strategies do Irish ...
... context. How has a small, yet politically divided, mostly English-speaking country been able to flourish culturally while flanked on one side by British concerns and on the other by American cultural dominance? What strategies do Irish ...
Página 4
... context. She sees possibilities for dialogic interaction, including potential for the survival and flourishing of a vernacular. She brings these observations to the fore with critiques of Neil Jordan's The Butcher Boy (1997) and Mike ...
... context. She sees possibilities for dialogic interaction, including potential for the survival and flourishing of a vernacular. She brings these observations to the fore with critiques of Neil Jordan's The Butcher Boy (1997) and Mike ...
Página 5
... Contexts,” Cheryl Herr's “Images of Migration in Irish Film: Thinking Inside the Box,” makes very real the debate of ... context. In Part IV, “Genre and the Irish Short Film,” Ruth Barton in “'The Ireland They Dream Of'—Éireville ...
... Contexts,” Cheryl Herr's “Images of Migration in Irish Film: Thinking Inside the Box,” makes very real the debate of ... context. In Part IV, “Genre and the Irish Short Film,” Ruth Barton in “'The Ireland They Dream Of'—Éireville ...
Página 13
... context by crossing over into gothic horror. The film now entertains generic conventions removed from the constraints of cultural verisimilitude but free to dramatize the link between sexuality and politics, implicitly figuring Loyalist ...
... context by crossing over into gothic horror. The film now entertains generic conventions removed from the constraints of cultural verisimilitude but free to dramatize the link between sexuality and politics, implicitly figuring Loyalist ...
Página 15
... context, Hollywood comes to stand for “popular culture”—obscuring from critical view the existence of an indigenous popular culture which is similarly relegated by the artistic criteria espoused as “national culture.” Miriam Hansen ...
... context, Hollywood comes to stand for “popular culture”—obscuring from critical view the existence of an indigenous popular culture which is similarly relegated by the artistic criteria espoused as “national culture.” Miriam Hansen ...
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 |
Otras ediciones - Ver todas
Términos y frases comunes
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