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.
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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Brian McIlroy is Professor of Film Studies in the Centre for Cinema Studies at the University of British Columbia.
Inhaltsangabe
Preface List of Illustrations Acknowledgements Introduction Part I: Genre, Ireland and Theory 1. Genre and Nation, Christine Gledhil 2. Discovering and Uncovering Genre in Irish Cinema, Dervila Layden 3. Playing Cops and Robbers: Recent Irish Cinema and Genre Performance, Barry Monahan Part II: Genre, Ireland and Hollywood 4. Is Californication a Mortal Sin?: The Influence of Classic Hollwood Cinema on Indigenous Irish Film, Michael Gillespie 5. Hollywood Genre Formulas as Contact Zones: The Case of Jim Sheridan's The Boxer, Tom Hemmeter 6. Triangulating Influence: Genre in I Went Down, Eat the Peach and The General, Scott Ruston Part III: Transnational and Transformational Contexts 7. Images of Migration in Irish Film: Thinking Inside the Box, Cheryl Temple Herr 8. "Sometimes the Imagination is a Safer place": Fantastic Spaces and The Fifth Province, Matthew Fee 9. Opening the Peasant Play: Friel on Film, Joan FitzPatrick Dean Part IV: Genre and the Irish Short Film 10. "The Ireland they Dream of"-Eireville, Coolockland and the appropriation of Science Fiction and Fantasy narratives in short Irish filmmaking, Ruth Barton 11. Breac Scannáin/Speckled Films: Genre and Irish-language Filmmaking, Fidelma Farley Part V: Jordan, Gothic, Horror 12. Neil Jordan's Postmodern Gothic, or Why The Good Thief was originally entitled Double Down, Maria Pramaggiore 13. Straying From the Path: Horror and Neil Jordan's The Company of Wolves, Dana Och Part VI: Genre and the City Film 14. Cinema, City and Imaginative Space: "Hip Hedonism" and Recent Irish Cinema, Martin McLoone 15. Cityscapes of Fluid Desire: Queering the Romantic Comedy in Liz Gill's Goldfish Memory, Natalie Harrower Part VII: Northern Irish Commemorative Cinema 16. Mourning and Solidarity: The Commemorative Models of Some Mother's Son and H3, Jennie Carlsten 17. Genre Politics: Bloody Sunday as Documentary and Discourse, Joseph Moser 18. Memory Work: Omagh and the Northern Irish Monumentary, Brian McIlroy Contributors Index
Preface List of Illustrations Acknowledgements Introduction Part I: Genre, Ireland and Theory 1. Genre and Nation, Christine Gledhil 2. Discovering and Uncovering Genre in Irish Cinema, Dervila Layden 3. Playing Cops and Robbers: Recent Irish Cinema and Genre Performance, Barry Monahan Part II: Genre, Ireland and Hollywood 4. Is Californication a Mortal Sin?: The Influence of Classic Hollwood Cinema on Indigenous Irish Film, Michael Gillespie 5. Hollywood Genre Formulas as Contact Zones: The Case of Jim Sheridan's The Boxer, Tom Hemmeter 6. Triangulating Influence: Genre in I Went Down, Eat the Peach and The General, Scott Ruston Part III: Transnational and Transformational Contexts 7. Images of Migration in Irish Film: Thinking Inside the Box, Cheryl Temple Herr 8. "Sometimes the Imagination is a Safer place": Fantastic Spaces and The Fifth Province, Matthew Fee 9. Opening the Peasant Play: Friel on Film, Joan FitzPatrick Dean Part IV: Genre and the Irish Short Film 10. "The Ireland they Dream of"-Eireville, Coolockland and the appropriation of Science Fiction and Fantasy narratives in short Irish filmmaking, Ruth Barton 11. Breac Scannáin/Speckled Films: Genre and Irish-language Filmmaking, Fidelma Farley Part V: Jordan, Gothic, Horror 12. Neil Jordan's Postmodern Gothic, or Why The Good Thief was originally entitled Double Down, Maria Pramaggiore 13. Straying From the Path: Horror and Neil Jordan's The Company of Wolves, Dana Och Part VI: Genre and the City Film 14. Cinema, City and Imaginative Space: "Hip Hedonism" and Recent Irish Cinema, Martin McLoone 15. Cityscapes of Fluid Desire: Queering the Romantic Comedy in Liz Gill's Goldfish Memory, Natalie Harrower Part VII: Northern Irish Commemorative Cinema 16. Mourning and Solidarity: The Commemorative Models of Some Mother's Son and H3, Jennie Carlsten 17. Genre Politics: Bloody Sunday as Documentary and Discourse, Joseph Moser 18. Memory Work: Omagh and the Northern Irish Monumentary, Brian McIlroy Contributors Index
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