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 5
... past is eerily confirmed by Joan FitzPatrick Dean who argues, in her chapter, “Opening the Peasant Play: Friel on Film,” that even successful play material, as in two of Brian Friel's greatest works, cannot be assured of critical or ...
... past is eerily confirmed by Joan FitzPatrick Dean who argues, in her chapter, “Opening the Peasant Play: Friel on Film,” that even successful play material, as in two of Brian Friel's greatest works, cannot be assured of critical or ...
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... past, to the comedic 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 ...
... past, to the comedic 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 ...
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... Past Is Always There in the Present': Fools ofFortune and the Heritage Film,” in J. Mackillop (ed.) Contemporary Irish Cinema: From The Quiet Man to Dancing at Lughnasa, Syracuse, NY: Syracuse University Press. Landy, M. (1991) British ...
... Past Is Always There in the Present': Fools ofFortune and the Heritage Film,” in J. Mackillop (ed.) Contemporary Irish Cinema: From The Quiet Man to Dancing at Lughnasa, Syracuse, NY: Syracuse University Press. Landy, M. (1991) British ...
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... past and currently successful cycles in order to maximise audiences, while Klinger and Haralovich demonstrate how publicity machines and advertising copy attempt to negotiate audience expectations and affiliations, especially in respect ...
... past and currently successful cycles in order to maximise audiences, while Klinger and Haralovich demonstrate how publicity machines and advertising copy attempt to negotiate audience expectations and affiliations, especially in respect ...
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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