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. |
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Página 4
... gangster films that the local and the global can be fruitfully blended within a small national cinema such as Ireland's. In Part II, “Genre, Ireland, and Hollywood,” Michael Patrick Gillespie's essay, “'Is Californication a Mortal Sin ...
... gangster films that the local and the global can be fruitfully blended within a small national cinema such as Ireland's. In Part II, “Genre, Ireland, and Hollywood,” Michael Patrick Gillespie's essay, “'Is Californication a Mortal Sin ...
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... gangster films, to the focus on the fantasy and gothic genres, to playful Hollywood and European art film parody and hybridity, and on to the recent commemorative cinema ofNorthern Ireland. Yet, each ofthese genres and subgenres allows ...
... gangster films, to the focus on the fantasy and gothic genres, to playful Hollywood and European art film parody and hybridity, and on to the recent commemorative cinema ofNorthern Ireland. Yet, each ofthese genres and subgenres allows ...
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... gangster and the Irish Bram Stoker's vampire. While the film, Baker suggests, follows the American gangster format by exploiting already circulating social images of Irish gangs—here of the Loyalist Shankhill Butchers—it soon shifts ...
... gangster and the Irish Bram Stoker's vampire. While the film, Baker suggests, follows the American gangster format by exploiting already circulating social images of Irish gangs—here of the Loyalist Shankhill Butchers—it soon shifts ...
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... gangster and the ghoulish despair of the vampire—because it cuts both off from their shared roots in melodrama. As an “aesthetic of justice,” melodrama's core lies in the confrontation between and recognition of polarized values ...
... gangster and the ghoulish despair of the vampire—because it cuts both off from their shared roots in melodrama. As an “aesthetic of justice,” melodrama's core lies in the confrontation between and recognition of polarized values ...
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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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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