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 viii
... , horror 12 Neil Jordan's postmodern gothic, or, why The Good Thief was originally entitled Double Down MARIA PRAMAGGIORE 77 97 109 111 123 137 149 151 163 177 179 13 Straying from the path: Horror and Neil Jordan's The viii Contents.
... , horror 12 Neil Jordan's postmodern gothic, or, why The Good Thief was originally entitled Double Down MARIA PRAMAGGIORE 77 97 109 111 123 137 149 151 163 177 179 13 Straying from the path: Horror and Neil Jordan's The viii Contents.
Página 2
... postmodernism. Rethinking of genre, in particular melodrama (Gledhill 2000, 2002), gave the field of study new respectability and importance. Books by Altman (1999), Dixon (2000), and Neale (2000) convey the continued interest in genre ...
... postmodernism. Rethinking of genre, in particular melodrama (Gledhill 2000, 2002), gave the field of study new respectability and importance. Books by Altman (1999), Dixon (2000), and Neale (2000) convey the continued interest in genre ...
Página 5
... Postmodern Gothic, or, Why The Good Thiefwas originally entitled Double Down,” reviews Jordan's interest in the gothic as a generic form, but she also argues that reality and fantasy are so intertwined in his work that the term postmodern ...
... Postmodern Gothic, or, Why The Good Thiefwas originally entitled Double Down,” reviews Jordan's interest in the gothic as a generic form, but she also argues that reality and fantasy are so intertwined in his work that the term postmodern ...
Página 11
... postmodernist practices dissolve the discrete identities of genres, globalization and multinational coproduction threaten the existence of the distinctively national. Thus genre theorists confront the apparent breakdown of traditional ...
... postmodernist practices dissolve the discrete identities of genres, globalization and multinational coproduction threaten the existence of the distinctively national. Thus genre theorists confront the apparent breakdown of traditional ...
Página 16
... postmodern globalization of markets, combined with expansion of new media, have vastly speeded up the internationalization of film fictions not only through complex coproduction deals, but through the exchange of cultural styles, tropes ...
... postmodern globalization of markets, combined with expansion of new media, have vastly speeded up the internationalization of film fictions not only through complex coproduction deals, but through the exchange of cultural styles, tropes ...
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