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 34
Página xi
... of his film Éireville (2002) at the conference. I intend this publication to be followed in the next few years with a single-authored work on specific Irish genre films. 1.1 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 Preface.
... of his film Éireville (2002) at the conference. I intend this publication to be followed in the next few years with a single-authored work on specific Irish genre films. 1.1 2.1 2.2 2.3 3.1 3.2 3.3 4.1 4.2 4.3 Preface.
Página 1
... specific historical and critical moments. Understanding when and in what circumstances such preferential or reduced treatment can be observed is part of the intellectual task attempted here. This book of essays has three main objectives ...
... specific historical and critical moments. Understanding when and in what circumstances such preferential or reduced treatment can be observed is part of the intellectual task attempted here. This book of essays has three main objectives ...
Página 2
... specific ideology or canon of films; in fact, genre theory allows an inclusiveness that can displace the current canon of serious works to be studied. The lack of an evaluative imperative generates a lively discussion of popular works ...
... specific ideology or canon of films; in fact, genre theory allows an inclusiveness that can displace the current canon of serious works to be studied. The lack of an evaluative imperative generates a lively discussion of popular works ...
Página 3
... specific frame, which in my case here is Irish film and Irish society. I am not advocating necessarily “Genre and Nation” here, implying that all national cinemas produce different genres. Clearly, it is more complicated than that, with ...
... specific frame, which in my case here is Irish film and Irish society. I am not advocating necessarily “Genre and Nation” here, implying that all national cinemas produce different genres. Clearly, it is more complicated than that, with ...
Página 11
... specific with an eclectic array of generic features derived from American popular culture, suggesting, if the pairing is to be maintained, the need for a different conception of genre from that elaborated for Hollywood. In first ...
... specific with an eclectic array of generic features derived from American popular culture, suggesting, if the pairing is to be maintained, the need for a different conception of genre from that elaborated for Hollywood. In first ...
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