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 vii
... Hollywood 4 Is californication a mortal sin?: The influence of classic Hollywood cinema on indigenous Irish film MICHAEL PATRICK GILLESPIE xi xiii xv 11 27 45 59 61 5 Hollywood genre formulas as contact zones: The case of Contents.
... Hollywood 4 Is californication a mortal sin?: The influence of classic Hollywood cinema on indigenous Irish film MICHAEL PATRICK GILLESPIE xi xiii xv 11 27 45 59 61 5 Hollywood genre formulas as contact zones: The case of Contents.
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... Indigenous Irish Film,” takes the fairly controversial position that even in what are deemed quintessential indigenous Irish films, such as Bob Quinn's Poitín (1978), and Joe Comerford's Reefer and the Model (1988), the specter of ...
... Indigenous Irish Film,” takes the fairly controversial position that even in what are deemed quintessential indigenous Irish films, such as Bob Quinn's Poitín (1978), and Joe Comerford's Reefer and the Model (1988), the specter of ...
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... indigenous forms of storytelling. Nevertheless, contemporary Irish filmmaking frequently mixes motifs clearly marked as nationally specific with an eclectic array of generic features derived from American popular culture, suggesting, if ...
... indigenous forms of storytelling. Nevertheless, contemporary Irish filmmaking frequently mixes motifs clearly marked as nationally specific with an eclectic array of generic features derived from American popular culture, suggesting, if ...
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... indigenous popular culture which is similarly relegated by the artistic criteria espoused as “national culture.” Miriam Hansen (2000), reviewing the critical writings by Siegfried Kracauer and Walter Benjamin, which responded to ...
... indigenous popular culture which is similarly relegated by the artistic criteria espoused as “national culture.” Miriam Hansen (2000), reviewing the critical writings by Siegfried Kracauer and Walter Benjamin, which responded to ...
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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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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