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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.
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Autorenporträt
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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