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 31
Página viii
... fiction and fantasy narratives in Irish short filmmaking RUTH BARTON Breac Scannáin/Speckled films: Genre and Irish-language filmmaking FIDELMA FARLEY PART V Jordan, gothic, horror 12 Neil Jordan's postmodern gothic, or, why The Good ...
... fiction and fantasy narratives in Irish short filmmaking RUTH BARTON Breac Scannáin/Speckled films: Genre and Irish-language filmmaking FIDELMA FARLEY PART V Jordan, gothic, horror 12 Neil Jordan's postmodern gothic, or, why The Good ...
Página 5
... Fiction and Fantasy Narratives in Irish Short Filmmaking,” and Fidelma Farley in “Breac Scannáin/Speckled Films: Genre and Irish-language Filmmaking,” venture into territory that has not been much discussed in Irish cinema criticism ...
... Fiction and Fantasy Narratives in Irish Short Filmmaking,” and Fidelma Farley in “Breac Scannáin/Speckled Films: Genre and Irish-language Filmmaking,” venture into territory that has not been much discussed in Irish cinema criticism ...
Página 12
... verisimilitude, Neale points to the already culturally and ideologically constructed nature of the social world, on which generic fictions draw to a lesser or greater extent depending on their requirement for audience 12 Christine Gledhill.
... verisimilitude, Neale points to the already culturally and ideologically constructed nature of the social world, on which generic fictions draw to a lesser or greater extent depending on their requirement for audience 12 Christine Gledhill.
Página 15
... fictional worlds, between ideologies and aesthetics, between politics and the figurations and fantasizing of imagination. Crucially, this conception of generic production dispenses with the cultural analyst's role as arbiter of meaning ...
... fictional worlds, between ideologies and aesthetics, between politics and the figurations and fantasizing of imagination. Crucially, this conception of generic production dispenses with the cultural analyst's role as arbiter of meaning ...
Página 16
... fictions not only through complex coproduction deals, but through the exchange of cultural styles, tropes and identities across national borders, to produce transnational generic forms; for example, the 16 Christine Gledhill.
... fictions not only through complex coproduction deals, but through the exchange of cultural styles, tropes and identities across national borders, to produce transnational generic forms; for example, the 16 Christine Gledhill.
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