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 66
Página viii
... Images of migration in Irish film: Thinking inside the box CHERYL HERR 8 “Sometimes the imagination is a safer place”: Fantastic spaces and The Fifth Province MATTHEW FEE 9 Opening the peasant play: Friel on film JOAN FITZPATRICK DEAN ...
... Images of migration in Irish film: Thinking inside the box CHERYL HERR 8 “Sometimes the imagination is a safer place”: Fantastic spaces and The Fifth Province MATTHEW FEE 9 Opening the peasant play: Friel on film JOAN FITZPATRICK DEAN ...
Página 5
... Images of Migration in Irish Film: Thinking Inside the Box,” makes very real the debate of transnational flows by focusing on those films that focus on confinement and human cargo. With examples from Michael Anderson's Shake Hands with ...
... Images of Migration in Irish Film: Thinking Inside the Box,” makes very real the debate of transnational flows by focusing on those films that focus on confinement and human cargo. With examples from Michael Anderson's Shake Hands with ...
Página 7
... Images in Film and Television, Jef- ferson, NC: McFarland. Dixon, W. W. (2000) Film Genre 2000: New Critical Essays, Albany: State Uni- versity of New York Press. Frye, N. (1957) Anatomy of Criticism: Four Essays, Princeton, NJ ...
... Images in Film and Television, Jef- ferson, NC: McFarland. Dixon, W. W. (2000) Film Genre 2000: New Critical Essays, Albany: State Uni- versity of New York Press. Frye, N. (1957) Anatomy of Criticism: Four Essays, Princeton, NJ ...
Página 13
... images of Irish gangs—here of the Loyalist Shankhill Butchers—it soon shifts from the gangster film's topical ... image of a Belfast mural depicting Loyalism as the violent return of the undead suggests how this generic fantasy is doing ...
... images of Irish gangs—here of the Loyalist Shankhill Butchers—it soon shifts from the gangster film's topical ... image of a Belfast mural depicting Loyalism as the violent return of the undead suggests how this generic fantasy is doing ...
Página 17
... images, and actions from Hollywood genres figure as defining presences in the cultural milieu which the children ... image of open landscape and new beginnings, ambivalently crossed, for the Irish children, by cowboy and Indian as ...
... images, and actions from Hollywood genres figure as defining presences in the cultural milieu which the children ... image of open landscape and new beginnings, ambivalently crossed, for the Irish children, by cowboy and Indian as ...
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