ABSTRACT

From the international successes of Neil Jordan and Jim Sheridan, to the smaller productions of the new generation of Irish filmmakers, this book explores questions of nationalism, gender identities, the representation of the Troubles and of Irish history as well as cinema's response to the so-called Celtic Tiger and its aftermath.

Irish National Cinema argues that in order to understand the unique position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the so-called Irish diaspora and engage with its cinema.

An invaluable resource for students of world cinema.

part |82 pages

From the Silent Era to the 1960s: A Historical Overview

chapter |10 pages

Irish Cinema – National Cinema?

From Nationalist Politics to Identity Politics – Conceptualising Irish Cinema

chapter |21 pages

A Silent Revolution

The reception and making of Irish-Themed films in Ireland and America before and immediately after the Easter Rising of 1916

chapter |31 pages

Contested Images

Filmmaking and Viewing in the Early Days of the Free State; Immigrant Narratives of Exile and Assimilation

chapter |18 pages

Negotiating Modernisation

From the Second World War to the 1960s: The Beginnings of an Industry and the Influence of John Ford

part |108 pages

Issues and Debates in Contemporary Irish Cinema

chapter |19 pages

Irish Independents

The Emergence of a Critical, Independent Cinema in the 1970s and 1980s

chapter |9 pages

The Second Film Board Years

The Re-Establishment of the Irish Film Board and Its Policies, 1993 to the Present

chapter |17 pages

The Deflowering of Irish Cinema

Gender in Contemporary Irish Cinema

chapter |18 pages

Another Country

The Representation of History and the Past

chapter |9 pages

From History to Heritage

Defining the Irish Heritage Film

chapter |22 pages

Northern Ireland

The Troubles and the Peace Process in Indigenous and Non-Indigenous Filmmaking

chapter |12 pages

Inclusion, Exclusion, Conclusion

The Regions and the Margins in Contemporary Irish Film-Making