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Contents
Foreword: Irish National Cinema – What Have We Wrought?
Contemporary Thoughts on a Recent History
Notes on Contributors
vii
xviii
Introduction
Barry Monahan
1
Part I Politics of Home, Space and Place
1 ‘Nothin’ But a Wee Humble Cottage’: At Home in Irish
Cinema
Conn Holohan
13
2 Gangland Geometries: Space, Mobility and Transgression
in the Veronica Guerin Films
Jenny Knell
24
3 ‘Don’t Use Your Own Accents!’: Representations of
Dublin’s Accents in Contemporary Film
Nicholas O’Riordan
35
4 Beyond Horror: Surviving Sexual Abuse in Carmel
Winters’ Snap
Kathleen Vejvoda
47
Part II Identities of Gender and Stardom
5 Black and White and Green All Over? Emergent Irish
Female Stardom in Contemporary Popular Cinemas
Ciara Barrett
59
6 Transcending Parochial Borders? Jonathan Rhys Meyers Is
Henry VIII
Liz Carville
71
7 Old and New Irish Ethnics: Exploring Ethnic and Gender
Representation in P.S. I Love You
Silvia Dibeltulo
82
v
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vi Contents
8 Mediating between His & Hers: An Exploration of Gender
Representations and Self-Representations
Patricia Neville
94
Part III Northern Ireland
9 From Belfast to Bamako: Cinema in the Era of Capitalist
Realism
Stephen Baker and Greg McLaughlin
107
10 ‘Many Sides, Many Truths’: Collaborative Filmmaking in
Transitional Northern Ireland
Laura Aguiar
117
11 The Suffering Male Body in Steve McQueen’s Hunger
Raita Merivirta
12 Mickybo and Me: A Cinematographic Adaptation for an
International Audience
Brigitte Bastiat
127
137
Part IV Overseas Perspectives
13 Singing in the Rain: The Irish-Themed Film Musical and
Schlager’s Hibernian Moment
Fergal Lenehan
14 Irish Cinema: A French Perspective
Isabelle Le Corff
15 Is Adaptation an Act of Transformation? J. B. Keane’s
The Field on Screen
Noélia Borges
149
158
170
16 Irish Cinema in Italy: The Roma Irish Film Festa
Ciara Chambers and Barry Monahan
181
Bibliography
192
Filmography
205
Index
209
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Introduction
Barry Monahan
There are manifest similarities in the ways that nations and national
film cultures are born and develop. Both are protean and volatile,
and elude reductive teleological interpretations and categorization, and
both are at the mercy of the vicissitudes of sociological, political,
hegemonic, global, historical and economic events and eventualities.
Even in cases where certain structural trends of film output are historically identifiable in different international contexts, specificities
that are characteristic of given national and national film culture contexts can bear remarkable similarities across geographical borders. It is
hardly a coincidence, for example, that the Hollywood and Bollywood
mechanisms – in such cantonized, multicultural demographies – have
produced cinematic cultures consistently designed around clearly recognizable generic structures (distinctly maintained film categories in
the former, and imbricated and amalgamated within individual films
in the latter). This diachronic peculiarity contrasts radically with the
more synchronic national cinema movements that are often subsumed
under a broader ‘European film’ epithet, but are nevertheless still identified discursively by titles such as ‘German Expressionism’, ‘Italian
NeoRealism’, the ‘French Nouvelle Vague’, ‘British Social Realism’ or
the ‘Danish Dogme95 Project’, all of which are consigned to precise
temporal moments as categories of film history.
The constitutions of nation and nationality also operate in a dialectically similar way to that of a national cinema (and by this, as opposed to
‘national film’, I mean specifically the broader element of the cinematic
apparatus). Both require an unrestricted and constantly evolving interaction between concrete manifestations, artefacts and performances,
and engaged critical commentary on the same. In the light of these
two frameworks for consideration – instability on the one hand and
1
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Introduction
the dialectical relationship between concrete components and critical
discourse on the other – the case of Ireland and Irish film culture offers
an interesting case study. While the burgeoning Irish nation had so tentative a birth and delivery, as has been so often noted, so, too, did an
indigenous cinema – from official recognition and support, to the provision of technological hardware and studio and training facilities –
have a belated and belaboured beginning, with more than one false
start and recession along the way. More optimistically, and perhaps
counter-intuitively in view of this prohibitive context, the development
of critical commentary on Irish cinema has been consistent, strong and
increasingly imaginative. On the solid foundations provided by internationally acclaimed pioneers in the field – John Hill, Luke Gibbons,
Martin McLoone and Kevin Rockett – waves of second-generation academics and other cultural critics have offered wide-ranging and fruitful
observations on every aspect of Irish cinema, from theoretical and political perspectives, and empirical and aesthetic analyses, to historical and
practice-based interpretations. As Hill, Gibbons, McLoone and Rockett
continued to produce ground-breaking research, the innovative work
of other home-grown analysts was added to the critical canon: Ruth
Barton, Harvey O’Brien, Lance Pettitt and Emer Rockett, to mention a
few. Now, with an expanding army of academic commentators, another
wave of rich and diverse analysis has come from many of my own
contemporaries and the pens of Zélie Asava, Steve Baker, Ciara Chambers, Denis Condon, Maeve Connolly, Debbie Ging, Conn Holohan,
Díóg O’Connell, Emma Radley, Tony Tracy and too many others to
mention here.
In a number of ways, even more significant – since it has so obviously been from its inception, essentially a transnational medium – is
the moment at which the national cinema finds its global purchase and
there occurs a rise in overseas commentary, commensurate with the success and recognition of our indigenous films in other countries. From
the earliest foray into academic considerations of Irish cinema, scholars like Elizabeth Butler Cullingford, Brian McIlroy and Anthony Slide
have contributed reflections on the medium and, in time, these have
been added to by highly critically recognized specialists like Michael
Patrick Gillespie, Isabelle Le Corff, Diane Negra, Maria Pramaggiore
and Rosa González, again to name only a few. On the global platform
of increasing inter-communicational technologies, we should celebrate
the ever-expanding numbers of instruments and channels of dialectical
commentary that seek to progress the identity and knowledge base of
our national cinema.
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Barry Monahan
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That the thematic range of critical perspectives has also diversified
and deepened is further cause for celebration and is also testimony to an
expanding canon of noteworthy films. Within the categories of historical, theoretical and aesthetic analysis, more probing accounts into fields
such as genre, gender and identity studies, cinema and transnational
collaboration and narration, and, more recently, aspects of intertextuality, adaptation and performance studies and eco-criticism, have all
further expanded and enriched the investigative scholarly canvas. Such
commentaries provide a necessary keystone in the conceptual cinematic
cultural output, and offer to students in our third-level institutions
inspiration and challenges to their thinking about what a 21st-century
cinema should and can do. In an age – as we are repeatedly reminded –
when almost everyone has some form of technological hardware for the
recording of moving images (often in our pockets!), the capacity to make
movies should be met all the more ardently with the requirement to
have the intellectual and creative capability to make excellent movies.
In this respect, our academic discursive input is of increasing critical
importance.
This collection of essays, like so many others published in the field,
hopes to bring several intellectual interventions into the cultural dialectic of the medium, by working from the potential wealth that its
polyvocality and thematic variety should offer. Divided into four parts,
its breadth incorporates not just commentary from analysts at home
and around the globe, but also contributions from writers from several
disciplines, and from both internationally established and early career
scholars who have innovative interjections to relate.
The extended foreword has been written by professor of media and
cultural studies, Martin McLoone, who, having only recently retired
from the University of Ulster (although no less actively engaged in,
and engaging with, the field), offers a magnanimous overview (across
his career) from the early, hesitant days of a burgeoning Irish cinema.
His account is both personally informed and analytically rigorous, as
McLoone offers a historical synopsis of the fluctuations in the development of Irish and Northern Irish cinema. This outline runs parallel
to an interpretation of what citizens should expect from their national
cinematic culture; how it should be reflective, constitutive and transformative of the more dubious ideological forces that run the state.
In this, he references an essay titled ‘Z-movies or what hath CostaGavras wrought?’, first published by French critic Guy Hennebelle in
1974, and which he says inspired him to think differently about the
important position that a national cinema necessarily occupies in a
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Introduction
healthy socio-political system. McLoone’s argument moves on from
Hennebelle’s reflection on the activist cinema of native Greek CostaGavras by optimistically suggesting that mainstream cinema is capable
of being politically engaged and is not inevitably caught in a politically
paralysing populist hegemony. Ireland’s case – although not unique –
is one that must typically, constantly confront its position as marginal
and peripheral to the mainstream centre, but this must not excuse it
from the responsibility to challenge and inform a broader political culture. McLoone cites Bob Quinn and his contemporary Irish filmmakers
working in the 1970s and ’80s as activists whose films were both politically engaged and formally innovative. As his ideas unfold, McLoone
comes to address the relative benefits and problems of current funding and marketing situations in both the north and south of Ireland,
before he ends with an affirmative turn to reflect on some current academic writing on recent Irish cinema; a conclusion that returns to the
debate about mainstream and peripheral cinematic production and the
relationship between minor national cinemas and generic paradigms,
where his essay began.
The main body of the collection is divided into four parts for thematic coherence and practicality for the research reader. The first of
these considers the representations of space, place and the home in
Irish cinema. In Chapter 1, Conn Holohan addresses the ways in which
notions of home have been conceptualized and constructed in a historical dialectical relationship between cinema and other socio-cultural
commentaries. Beginning his polemic with reflections on the contemporary Irish socio-economic context – a time at which earlier romanticized
notions of ‘the home’ shifted towards the more exchange-value position
occupied during the Celtic Tiger years of acquisition of ‘the house’ –
Holohan returns to the metaphorical evocation of Ireland as homeland, using John Ford’s 1952 film The Quiet Man as an exemplary case.
From there, Holohan analyses how more recent cinematic representations problematize the earlier idealizations of homestead, proposing that
the shift from the former is indicative of changing attitudes to what
the home is; maintaining the displacement of both previously accepted
international perspectives of Ireland as ‘home’ (by the considerable Irish
diaspora), and national, local values of ‘home’ as socially cherished
‘hearth’. Holohan evokes Mark Augé’s notion of the postmodern, globalized non-space ultimately detached from traditional historical contexts,
to problematize the formerly esteemed position of the home, having
now become as significant, if not more important, in its virtual and
conceptual reality as it used to be in its concrete actuality. In Chapter 2,
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Jenny Knell offers an analysis of Dublin as ideologically gendered space
in a number of crime films narrating or based on the life and murder stories of investigative crime journalist Veronica Guerin and criminal gang
leader Martin Cahill. Knell starts by providing a broad context of cinematic representations of Dublin’s gangland, notably concentrating on
five films produced between 1998 and 2003, in order to establish a set
of generic precedents that facilitate her analysis of how the female journalist’s social and gendered position rests problematically – although,
for Knell’s reading, not entirely inconveniently – at odds with the masculine, working-class criminal worlds in which Guerin (or her alter ego
Hamilton) circulates for investigation. The perils of mobilizing such a
strong and progressive female protagonist are discernible, according to
Knell, in somewhat conservative ways, as warnings and threats to her
family are frequently used to mark the character’s violation of territorially gendered social spaces; something that Knell argues is broadly
representative of more generally pervasive social attitudes.
In the third chapter, Nicholas O’Riordan offers a new angle of reflection on contemporary representations of Dublin on screen (perhaps
counter-intuitively for the visual medium, although no less innovatively
as a result) by focusing on the role of accent. O’Riordan provides solid
historical contextualization for invoking more contemporary concerns
over certain ‘inaccuracies’ perceived in certain (non-Irish) actors’ performances of the indigenous accent. As he questions the enduring ubiquity
of the critical commentaries on such mainstream cinematic misrepresentations of the native accent, O’Riordan finds historical concerns,
publically expressed over a century ago about the threat to the Irish
language (by Padraig Pearse) and, latterly, to Hiberno-English (by Oliver
St John Gogarty). These precedents, he suggests, may go some way to
explaining the enduring – albeit latent – protectionism that might be
informing contemporary critical discourses. There is ample evidence,
he suggests, that in the light of developments in the Dublin accent
during the Celtic Tiger years, even contemporary Irish cinema offers
examples of how accent modulation and performance have become useful narrative devices – in both major and minor ways – for character
exploration and the examination of changing socio-cultural and socioeconomic stratification. The final chapter in this section neatly bookends with themes introduced in Conn Holohan’s opening contribution.
In Chapter 4, Kathleen Vejvoda echoes Holohan’s problematization of
the historically constituted ‘cosy homestead’ by concentrating on a dysfunctional set of familial relationships as depicted in Carmel Winters’
film Snap. Vejvoda begins by calling upon stylistic traditions of gothic
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Introduction
horror narratives – with some attention given to the role of the child
character of that genre – before suggesting that those aesthetic qualities
are not simply applied to, but are usefully explored by, Winters’ innovative marriage of formal qualities with her manifest thematic concerns
in the film. Vejvoda proposes that the multi-layered narrative movements and formal processes of subjective meaning-making in Winters’
film facilitate a reading of cinematic mediation that is at one and the
same time open to charges of pornographic sexualized objectification,
but also, more optimistically as the film moves towards an interrogative
historiographical (in-)conclusion, a possible mechanism of redemption,
and release for victims of atavistic cycles of abuse.
The second section of the collection gathers fours essays around the
overlapping themes of gender and stardom as globally performed on
the national platform. In Chapter 5, Ciara Barrett uses two case studies of Irish female ‘stardom’ – the early careers of Saoirse Ronan and
Ruth Negga – to explore the less obvious, and much less frequently
discussed, histories of Irish female star performance in the context of
mainstream cinema. Barrett begins by establishing a number of lines of
interrogation, by drawing attention to the problematic discursive relegation of the construction of female stardom generally, the tentative
positions held by the Irish male star within cinematic narratives historically, and then brings both of these together to question the relative
paucity of dynamic and complex roles created for the recognizable –
and celebrated – Irish female star. As what might at first seem to be
an affirmative antidote to this dearth, Barrett examines the position of
rising Irish actresses Ronan and Negga, and explores the extent of selfmanagement of their images, as well as the construction of the same,
by national and international media. What may be seen as an advance
for the indigenous female actor within the category of ‘stardom’ more
generally, Barrett implies may be matched by a commensurate dilution
of the sense of a national identity within that same category. Shifting to
the more established career of Jonathan Rhys Meyers (perhaps a noteworthy example, in view of Ciara Barrett’s argument), in Chapter 6,
Liz Carville considers how extra-textural mediation and construction
of the Irish actor’s image have informed both his casting and then
intertextual meaning-creation as Henry VIII in Michael Hirst’s television series The Tudors. Not without precedent – as Carville goes through
a number of the on-screen roles already played by the notably ‘Irish’
performer – Meyers’ characterization of the volatile, impetuous and
problematically depicted ‘masculine’ English monarch is neatly drawn
and maintained by references to biographical details of the actor’s public
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persona. These are not only strategically mobilized in cultural commentary, Carville suggests, but also work from certain problematic historical
essentializations of ‘Irishness’ within earlier colonial representations
and discourses.
In the seventh chapter, Silvia Dibeltulo proposes a relationship
between the ideological design of certain aspects of mainstream ‘Irish’
masculinity and evolving ethnicities of ‘Irishness’ in a way that provides appropriate continuity with the observations of the previous two
chapters. In this essay, Dibeltulo invites the reader to consider the
semiotics – in dialogue and visual coding – of Irishness, as constructed
in mainstream American cinema. Although her focus is mostly concentrated on the Richard LaGravenese adaptation of Cecelia Ahearn’s novel
P.S. I Love You, Dibeltulo’s analysis of both ‘old’ and ‘new’ ethnics and
her introduction of the category of ‘hyphenated identity’ as informative
construction both imply a much farther-reaching, and more significant, application of her theoretical framework across the breadth of
mainstream visual culture. Moving towards a conclusion that increasingly concentrates on a masculine (and masculinized) Irish ethnicity,
Dibeltulo frames the development in the representation of the earlier
stereotype within economically motivated and hegemonically conservative and capital-based motivations. In the final chapter of this section,
Patricia Neville challenges simplistic readings of Ken Wardrop’s documentary His & Hers by confronting reductive notions of documentarian
objectivity in combination with an application of the flexibility ascribed
to sociological constructions of gender. As she charts an established
range of cinematic and (more generally) narrative tropes that have
been historically ascribed to the female character – in this case, specifically, the Irish female character – Neville goes on to measure the
degrees of perceived and accepted innovation in Wardrop’s film, to suggest that it may not be as revolutionary a construction of femininity
as first appears. With a close reading of the film, and a provision of
extra-textual information about its production, Neville contextualizes
Wardrop’s offering in the light of its critical reception and against its
cinematic precursors in the creation of a sense of feminine identity on
screen.
The third part of the book gathers together four chapters that consider themes relating to the cinema and representations of Northern
Ireland. In the first of these, Chapter 9, Stephen Baker and Greg
McLaughlin outline a polemic that, notwithstanding the note that
films are inevitable ideological texts, representations of the Northern
province have tended towards formal and, therefore, political caution.
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Introduction
Calling for more directly probing and engaging cinematic address
to the contemporary socio-political situation of that province, Baker
and McLaughlin offer analytical comparison with another innovative
example of marginal filmmaking by looking at African, Abderrahmane
Sissako’s, Bamako. They hold a close analytical reading of this peripheral Malian film as a wonderful example of how even non-mainstream
cinema can address global hegemonic forces, with a subversive swipe
at the dominant international institutions of capital and cultural dominance. Baker and McLaughlin show how this formally challenging film
simultaneously provides a critique of the moral bankruptcy of organizations like the International Monetary Fund and the World Bank, and
eschews the established stylistic and structural constructing principles of
mainstream generic cinema. By evoking an argument that has already
been introduced in Martin McLoone’s essay in this collection, they affirmatively call for a similar creative revolution in a Northern-produced
cinema that, they feel, has too often fallen into the conventional and
banal generic formatting of populist production. In Chapter 10, Laura
Aguiar offers a personal account and assessment of her involvement in
the production of the Northern Ireland documentary We Were There; a
collaborative project constructed from interviews with former detainees
in the Maze and Long Kesh prisons, and their relatives, in conjunction with the Prisons Memory Archive. As Aguiar details her roles as
co-director and editor of the film, she problematizes the methodologies
involved in rendering an account of various historical and personal narratives and experiences into a coherent piece of cinema that might be
deemed compassionate and fair-minded by those represented directly
and indirectly in the content. Referencing the highly problematic concepts of ‘historical accuracy’, ‘objectivity’ and ‘impartiality’, Aguiar’s
essay frankly addresses the desire for interested engagement with, and
respect for, the personal stories behind the experiences in and around
the institutions of incarceration, against the context of highly charged
political and social situations offered by the documentary.
Raita Merivirta focuses on the representations of masculinity and
the male body on screen by using Steve McQueen’s 2008 film Hunger
as a case study in Chapter 11. By referencing the historical context
of recognizable images and iconography of the Maze Prison protest
hunger strikes in the early 1980s, and their occasional cinematic representation, Merivirta analyses the development of the semiotics of
Christian martyrdom – as politically mobilized and often-applied filmic
shorthand – and measures McQueen’s use of Michael Fassbender’s naked
male body in the role of Bobby Sands as one that works against
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established trends. She proposes, ultimately, that McQueen’s approach
has certain qualities that set it apart from earlier representations and
draws from these a potentially refreshing alternative to mainstream
depictions of the politicized naked male body on screen. This section
of the book closes with Brigitte Bastiat’s look at the difficulties inherent in the process of adaptation for the screen of an original theatrical
text and uses Owen McCafferty’s play Mojo Mickybo – and Terry Loane’s
2004 cinematic version Mickybo and Me – as its main focus. Establishing
the problematic nature of ‘adaptation discourse’ and the methodological
approaches that ought necessarily to precede its theoretical application,
Bastiat uses broader notions of textual (and dialogue) translation, in the
form of both subtitles and dubbing script, as paradigms through which
to explore the inevitable re-contextualization that occurs when an ‘original’ text finds purchase in a new marketplace. She attempts a reading
that offers a degree of empirical consideration (as much as space will
allow) of the linguistic mutations that can occur within and against any
primary text that is being reworked for a new medium or audience.
Although discreetly set from the last chapter, the fourth part of the
book moves to consider a number of overseas perspectives on Irish
cinema and leads on quite logically from it. In the first essay of this
section – Chapter 13 – Fergal Lenehan considers a particular example of generic representation of Ireland on screen by mobilizing Rick
Altman’s semantic and syntactic approach to understanding the configurations of mainstream cinema. In this, Lenehan finds a rich example
of an Irish musical within the German Schlager cycle and reads . . . nur
der Wind (Only the Wind) as an interesting case in its obedience to the
semantic conventions of the typical Hollywood-produced Irish-themed
musical, as he compares it with a large number of its contemporaries
(it was made in 1961) and its precursors. More importantly, according
to his analysis, Lenehan proposes how aspects of that film’s syntactic
elements reveal an altogether more nuanced interpretation of Irishness,
as produced for, and perceived by, its contemporary German-language
audiences. In Chapter 14, Isabelle Le Corff begins her study of French
audiences’ understanding and expectations of ‘Irish’ films with an
empirically informed consideration of how this indigenous cinema and
its filmmakers have been critiqued in the French-language press. With
reference to a large number of sources, Le Corff traces similarities of
critical observation and notes certain tendencies in vagaries of misunderstanding. She moves to her conclusion by offering some explanations
for the misconceptions and confusions arising out of, among others,
a general propensity to consider Irish cinema under the ‘British’ label
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Introduction
and to consider its language as rendering it culturally closer to an
international (American) mainstream.
In Chapter 15, the adaptation procedure is again considered with a
non-Irish audience in mind as Noélia Borges regards the extent to which
J. B. Keane’s play The Field was transformed for screen by Jim Sheridan
in his 1990 reworking. Considering the problematic nature of the process, and the difficulties owing to its subsequent adjudication in terms
of fidelity to, or respect for, the ‘original’, Borges approaches her analysis in much the same way that Brigitte Bastiat did with Mickybo and
Me (Chapter 12). Borges uses Dudley Andrews’ writing on adaptation
as a starting point for establishing her own analytical parameters, and
then considers elements of the film’s revisions of characterization, dialogue and setting, less to adjudicate on the relative merit of Sheridan’s
product, than as a means to interrogate the value of the process of remediation in a more general way. In the final chapter of this section, Ciara
Chambers and I offer a context for a consideration of a differently motivated perspective on Irish film from abroad (in this case from Rome,
Italy). By focusing on the personal project of one of Irish cinema’s more
enthusiastic cultural ambassadors in Europe – the creative director of the
Rome Irish Film Festa, Susanna Pellis – the chapter begins by providing
a brief history of the inception and development of that festival, before
offering an extended interview with Pellis. In it, Chambers and I hope to
have uncovered some insights into how Irish cinema – its cultural practice and industrial mechanisms – is perceived from another European
perspective and, by offering the access to certain personal reflections on
the state of our current indigenous film industry by someone involved
in its presentation (and regarding it from a helpful distance), our aim has
been to cast some light on an alternative viewpoint, and invite questions
of further critique and reasons for optimism.
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Index
Note: Locators followed by ‘n’ refers to note numbers.
About Adam (2001) (Stembridge, G.),
19–20
Abrahamson, L., 41, 44, 164–6, 187
accents, 5, 32, 35–46, 66, 84, 141, 167
Access Research Knowledge (Ark),
146n8
Adam and Paul (2004) (Abrahamson,
L.), 23, 41, 43, 46, 187
Addis, K., 36
Agnew, G., 153
Aguiar, L., 8, 117–26
Ahern, C., 83, 145, 170
Alba, R. D., 83, 88
Alexander (2005) (Stone, O.), 75
Alison, M. H., 126n1
Allen, K., 26
Allen, W., 75
Altman, R., 9, 149–50, 156
Anderson, J., 83
Anderson, W., 66, 69n6
Andrew, D., 10, 158, 171–2
An Everlasting Piece (2000) (Levinson,
B.), 111
Anthias, F, 96
Appleton, D., 111
Aretxaga, B., 130
Argyle, J., 156n3
Asava, Z., 2
Ashcroft, B., 159
Atonement (2007) (Wright, J.), 63, 66
Augé, M., 4, 20–1
The Babadook (2014) (Kent, J.), 56n1
Bachelard, G., 17
Baker, S., 2, 7–8, 107–16
Bamako (2006) (Sissako, A.), 8, 107–16
Barbash, I., 117, 121–2
Barrett, C., 6, 59–70
Barton, R., 2, 20, 35, 60–1, 153
Bastiat, B., 137–46
Beckett, S., 170, 187
Behan, B., 164
Belfast, 109–12
Bell, D., 98, 137
Bellos, D., 137
Bennett, J., 40–1
Bennett, O., 123
Bergquist, M. I., 120
Between the Canals (2011) (O’Connor,
M.), 23, 41
Blair, D., 24
Blair, L., 128–9, 133
Blown Away (1994) (Hopkins, S.), 73
Bluestone, G., 171, 173
Boorman, J., 24, 74, 160
Borges, N., 170–80
Borzage, F., 152
Bourdieu, P., 25, 32–3
The Boxer (1996) (Sheridan, J.), 107,
111–12, 115–16
Box Office Mojo, 83
Bracken, C., 97
Bradley, S., 67
Breakfast on Pluto (2005) (Jordan,
N.), 64
Breathnach, P., 48, 74
Brereton, P., 28
Bress, E., 56n3, 56n10
Brintnall, K. L., 130
‘British Social Realism,’ 1
Bronfen, E., 15
Brosnan, P., 60
Brown, J. A., 132
Bruzzi, S., 99–100
Bryce, A., 156n4
Burger, G., 156n4
Burke, R., 23
Butch Cassidy and the Sundance Kid
(1969) (Hill, G. R.), 139
The Butcher Boy (1997) (Jordan, N.),
160, 163, 168n7
Butler, D., 115, 156
209
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Index
Butler, G., 83
The Butterfly Effect (2004) (Bress, E.
and Gruber, J. M.), 56n3, 56n10
Byrne, D., 23, 41
Byrne, G., 60
Caffery, D., 107, 109
Cahill, M., 5, 24
Cal (1984) (O’Connor, P.), 160
Calvary (2014) (McDonagh, J. M.), 54
Campbell, K. L., 72
capitalist realism, 107–16
Carney, J., 56, 153, 164–5
Carolan, S., 41, 67
Carroll, L., 45, 143
Carville, L., 71–81
Casey, N., 92n7
Celtic Tiger, 18
booming of, 24
power-geometry, 26
Challenge for Change (1960–80) (Low,
C.), 117–18
Chambers, C., 181–91
Chan, J. J., 129
Chandler, D., 98
child abuse, 47–50
Cinema and Ireland, 37, 159
The Citizen (1981–3) (Hamilton, R.),
132
Cleary, J., 86
co-authorship, 121–2
Coffey, E., 54
collaborative filmmaking, 117–26
Comerford, J., 115–16
The Commitments (1991) (Parker, A.),
42, 46, 142, 152, 170
The Company of Wolves (1984) (Jordan,
N.), 166
Condon, Denis, 2
The Confession (1970) (Costa-Gavras),
207
Coppola, F. F., 151
Corcoran, M., 126n1
Corner, J., 95, 98
Corrigan, C., 35
Coulter, C., 118
Coupland, N., 40–1, 43–5
The Courier (1988) (Deasy, F. and Lee,
J.), 155
Cowboys and Angels (2003) (Gleeson,
D.), 18
Cresswell, T., 24–5, 29, 33
Cronenberg, D., 69n2
Cross, N., 123
Crosson, S., 56n4
Crowley, J., 43, 62, 70n7, 74
The Crying Game (1992) (Jordan, N.),
162–4, 166, 169n10
Cullingford, E. B., 2
Cummings, I., 156n3
Curtiz, M., 150
Cusack, T., 14
The Daisy Chain (2008) (Walsh, A.), 23
Daly, L., 41
Damo & Ivor (2013-) (Quinn, R.), 45
A Dangerous Method (2011)
(Cronenberg, D.)
‘Danish Dogme 95 Project,’ 1
Danny Boy (1940) (Mitchell, O.),
156n3
Darby O’Gill and the Little People (1959)
(Stevenson, R.), 152
Dargis, M., 83
Davidoff, L., 96
Dawson, G., 118–19, 125
Dear Daughter (1996) (Louis Lentin
TV), 98
Deasy, F., 155
December Bride (1990) (O’Sullivan, T.),
115–16
The Devil’s Own (1997) (Pakula, A. J.),
73
Devil’s Rock (1938) (Burger, G.), 156n4
Dibeltulo, S., 7, 82–93
Disco Pigs (2001) (Sheridan, K.), 74
Divorcing Jack (1998) (Caffery, D.), 107,
109–10, 112, 115–16
documentaries, social value of, 97–9
Dollhouse (2012) (Sheridan, K.), 41,
45–6
Dornan, J., 60
Doughboys in Ireland (1943) (Landers,
L.), 156n3
Dowler, L., 120
Downes, C., 118
Doyle, R., 42, 170
Dreifuss, A., 156n4
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Index
Dublin, 5, 17–18, 20–1, 23, 26–8, 30,
33–4, 35–46, 49, 74, 76, 83, 94,
150, 152–6, 167
Dudley, A., 10, 158, 171–2
Duffy, C. G., 36
Dwyer, M., 92n2
Dyer, R., 60, 69n4
Edwards, T., 134
Elder, S., 118
Elliot, P., 111
Ellman, M., 135
Elsaesser, T., 160
Elvis: The Early Years (2005) (Sadwith,
J. S.), 75
The Emperor’s Wife (2003) (Vrebos, J.),
75
Epinoux, E., 159
The Exorcist (1973) (Friedkin, W.),
56n1
Fair City (1988) (Agnew, G.), 153
Farley, F., 120
Farrell, C., 60, 62, 69n2, 91, 167
Fassbender, M., 8, 60, 62, 69n2, 132,
134
Feldman, A., 130–1
female ‘Irishness,’ 59
female stardom, 59–70
The Field (1990) (Sheridan, J.), 10, 163,
170–80
Finian’s Rainbow (1968) (Coppola, F.
F.), 151
Fischer, L., 69n3
Fisher, M., 107
FitzGibbon, I., 17
Flaherty, R., 117
Flynn, R., 48
Ford, J., 4, 15–18, 22, 88
Forde, W., 156n3
Forster, M., 64
Fortenberry, J., 93n9
France, 158–69
François-Geiger, D., 141
Frears, S., 62, 143, 166
the ‘French Nouvelle Vague,’ 1
Friedkin, W., 56n1
Fury (2012) (Weaver, D.), 64
211
Game of Thrones (2011-) (Benioff, D.
and Weiss, D. B.), 205
gangland geometries, 24–34
Gans, H. J., 82–3, 85, 88–9, 91, 93n10
Garage (2007) (Abrahamson, L.),
164–5, 187
gender representation, 82–103
The General (1997) (Boorman, J.), 24,
74, 160
Genette, G., 171–2
George, T., 111, 128, 133, 183
German Expressionism, 1
Gibbons, L., 2, 17, 35, 37, 60–1, 92n5
Gibson, M., 131, 134
Gill, L., 19
Gillespie, M. P., 2
Gilligan, V., 28, 31–2
Ging, D., 2, 91, 136, 143
Gleeson, D., 18, 166–7, 186
Gogarty, O.S., 5, 37
Going My Way (1944) (McCarey, L.),
151
Goldbacher, S., 75
Goldfish Memory (2003) (Gill, L.), 19
González, R., 2
Good Friday Agreement (1998), 118
The Good Thief (2002) (Jordan, N.),
161
Gormenghast (2000) (Wilson, A.), 75
The Governess (1998) (Goldbacher, S.),
75
Graham, C., 73
The Grand Budapest Hotel (2014)
(Anderson, W.), 63, 66, 69n6
Grosz, E., 25
Gruber, J. M., 56n3, 56n10
The Guard (2011) (McDonagh, J. M.),
164, 166–7
Guiney, E., 62
Hackett, C., 124
Hake, S., 154
Hall, C., 96
Hall, T., 56n7
Halter, M., 92
Hannam, K., 26
Hanna (2011) (Wright, J.), 63, 65–6,
69n6
Harkin, M., 62, 161
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Index
Harrington, R., 75
Harvey, D., 2, 109
H3 (2001) (Blair, L.), 128–9, 133, 189
Heaney, S., 14
Hennebelle, G., 3–4
Henry, P., 14
Hickey, R., 39–40, 44
Hidden Agenda (1990) (Loach, K.), 160,
163
High Boot Benny (1993) (Comerford,
J.), 115
Hill, G. R., 139
Hill, J., 2, 35, 37, 92n5, 116n3, 119,
139
The Hills of Donegal (1947) (Argyle, J.),
156n3
Hirst, M., 6, 71–81
His & Hers (2009) (Wardrop, K.), 7,
94–103
Holfter, G., 155
Holland, K., 13
Holmes, H. K., 41
Holohan, C., 2, 4–5, 13–23, 62
home prices (in Ireland), 13–14
Hopkins, S., 73
horror films, 47–56
The Host (2013) (Niccol, A.), 64, 164
Hunger (2008) (McQueen, S.), 8,
127–36
Hunt, L., 135
Hush-a-Bye Baby (1992) (Harkin, M.),
62, 161
Huston, J. R., 129
Hutcheon, L., 138, 143, 145, 171
Hyde, D., 36–8
In Bruges (2008) (McDonagh, M.), 74,
164, 166–7
Inglis, T., 96
Innes, C. L., 96
Intermission (2003) (Crowley, J.), 43,
62, 74
Interview with the Vampire (1994)
(Jordan, N.), 166
In the Name of the Father (1993)
(Sheridan, J.), 160, 162–3, 185
Into the West (1992) (Newell, M.), 17
Irigaray, L., 102
Irish and Proud of It (1936) (Pedelty,
D.), 156n3
Irish cinema
academic considerations of, 2
accents, 5, 32, 35–46, 66, 84, 141,
167
in capitalist realism, 107–16
city-located films, 19
commodification of Irishness, 89
development of, 3
ethnicity, 82–93
female stardom, 59–70
French perspectives of, 158–69
gender representation, 82–103
home and, 14–23
in Italy, 181–91
linguistic behaviour, 37
male stars, 60
self-representations, 94–103
Irish ‘cultural nationalism,’ 36
Irish Eyes Are Smiling (1944) (Ratoff,
G.), 156n3
Irish for Luck (1936) (Woods, A. B.),
156n3
Irish-language poetry, 14
Irish-themed film musical, 149–57
Irish Times, 13
Isolation (2005) (O’Brien, B.), 23
Italian NeoRealism, 1
Italy, 181–91
I Went Down (1997) (Breathnach, P.),
74
Jackson, P., 63
Jalea, G. D., 118
Jimi: All Is by My Side (2013) (Ridley,
J.), 67
Joffe, M., 60, 89, 93n8
Jones, K.W., 36
Jordan, N., 64, 160–6, 168n7, 169n10,
183, 187
Joyce, J., 170
Kandiyoti, D., 96
Kathleen Mavourneen (1937) (Lee, N.),
156n3
Kavanagh, P., 14
Keane, J. B., 10, 170–80
Keating, D., 23
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Index
Kellner, D., 115
Kelly, M., 13
Kenny, C., 98
Kent, J., 56n1
Kiberd, D., 63, 73
Kilpatrick, C., 118
Kisses (2010) (Daly, L.), 41
Knell, J., 5, 24–34
Konchalovskiy, A., 75
Kremer, J., 118
LaGravenese, R., 7, 60, 82, 93n8
Lamb, M., 49, 55, 56n9
Landers, L., 156n3
Leap Year (2010) (Tucker, A.), 22,
60, 89
Lebeau, V., 56n8
Le Corff, I., 2, 9, 158–69
Lee, A., 35, 75, 155, 156n3
Lee, J., 155
Lee, N., 156n3
Lenehan, F., 9, 149–57
Let’s Be Famous (1939) (Forde, W.),
156n3
Levinson, B., 111
Leydesdorff, S., 125
Life’s a Breeze (2013) (Daly, L.), 41
Lillian Russell (1940) (Cummings, I.),
156n3
Lim, D., 134
Linehan, H., 27, 133
Lionheart (2003) (Konchalovskiy, A.),
75
Little Nelly Kelly (1940) (Taurog, N.),
151
Loach, K., 142, 158, 160, 163–6, 168n3
Loane, T., 9, 111, 137–8, 142, 144,
145n5
The Londonderry Air (1938) (Bryce, A.),
156n4
The Long Good Friday (1980)
(Mackenzie, J.), 26–7
Longley, E., 63
‘lord of Ireland,’ 72
Louis Lentin TV, 98
Love/Hate (2010–14) (Carolan, S.), 41,
67
The Lovely Bones (2009) (Jackson, P.),
63
213
Low, C., 117
Luchs, M., 118
Lye, J., 101–2
Mackenzie, J., 24, 26–8, 30–4
MacKeogh, C., 98
MacLaughlin, N., 84, 86
Maeve, C., 2
Maeve (1982) (Murphy, P.), 115–16
The Magdalene Sisters (2002) (Mullan,
P.), 47
Maguire, J., 50–2
Mairs, J., 118–20, 124–5, 126n2
Man of Steel (2013) (Snyder, Z.), 78
Massey, D., 16, 21–2, 25
The Matchmaker (1997) (Joffe, M.), 60,
89, 93n8
Match Point (2005) (Allen, W.), 75
McCafferty, N., 126n1
McCafferty, O., 9, 137–9, 144, 145n1,
146n7
McCarey, L., 151
McClintock, A., 96
McCourt, F., 170
McDermott, R., 50, 176
McDonagh, J. M., 54, 166–7
McDonagh, M., 74, 164, 166–7
McDonald, H., 118–19
McEvoy, K., 119
McIlroy, B., 2, 149
McIvor, C., 67
McKeown, L., 118, 126n7, 188
McKittrick, D., 118, 126n7
McLaughlin, C., 117–120, 122, 124–5
McLaughlin, G, 7–7, 107–16
McLaughlin, N., 153, 155
McLoone, M., 2–4, 8, 17–18, 36–7, 61,
73, 84, 86, 116, 153, 155, 158–9,
161
McQueen, S., 8–9, 64, 69n2, 127–36
McRobbie, A., 26
McVea, D., 118, 126n7
Meaney, G., 97
Merivirta, R., 8, 127–36
meta-conflict, 119
Meyers, J. R., 6, 71–81
Michael Collins (1996) (Jordan, N.),
160, 164, 185
Michell, R., 111
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Index
Mickybo and Me (2004) (Loane, T.),
9–10, 111, 137–46
The Mighty Celt (2005) (Elliot, P.), 111
Miller, D., 152
Miller, L., 118, 125
The Minstrel Boy (1937) (Morgan, S.),
156n3
Misfits (2009–2013) (Overman, H.), 64
Missing (1982) (Costa-Gavras), 206
Mitchell, O., 156n3
Moloney, M., 119
Monahan, B., 1–10, 93n8, 170, 181–91
Mona Lisa (1986) (Jordan, N.), 160
Moore, C. (1899–1988), 60
Moore, R., 39–40
Morgan, S., 156n3
The Most Fertile Man in Ireland (1999)
(Appleton, D.), 111
Muldoon, O., 118
Mullan, P., 47
Mulvey, L., 69n3, 90, 102
Munday, R., 98
Murphy, C., 60, 62
Murphy, M., 128
Murphy, N., 95
Murphy, P., 115
Murray, R., 126n1
My Left Foot (1989) (Sheridan, J.), 62
My Name Is Joe (1998) (Loach, K.), 166
My Wild Irish Rose (1947) (Butler, D.),
156n3
Nair, M., 75
Nanook of the North (1922) (Flaherty,
R.), 117
Naremore, J., 138
Nash, C., 14
Neale, S., 90
Neeson, L., 60, 69n2
Negga, Ruth, 6, 59, 63–8
Negra, D., 2, 17–20, 61–3, 91, 92n7,
156n1
Neville, P., 94–103
Newell, M., 17
Niccol, A., 64
Nichols, B., 98–9
. . . nur der Wind (Wind, Only the) (1961)
(Umgelter, F.), 9, 153–5
Noble (2014) (Bradley, S.), 67
Non-Stop (2014) (Collet-Serra), 69n2
Northern Ireland, 107–46
Noyce, P., 73
O’Brien, B., 23
O’Brien, H., 2, 23, 102, 154, 183
O’Connell, D., 2, 27–8, 98, 100–2
O’Connor, F., 164
O’Connor, M., 23, 41
O’Connor, P., 160
O’Donnell, D., 158
O’Hagan, S., 128, 132
O’Hara, M. (b.1920), 60–1
Olaziregi, M. J., 36
Once (2006) (Carney, J.), 153, 164–5,
190
Ondine (2010) (Jordan, N.), 164, 166
Ordinary Decent Criminal (2000)
(O’Sullivan, T.), 24, 74
O’Regan, N., 156n5
O’Riordan, N., 5, 35–46
O’Sullivan, M. (1911–98), 60
O’Sullivan, T., 24, 74, 115–16
O’Toole, Peter, 60
O’Tuama, S., 14
Overman, H., 64
Pakula, A. J., 73
Park (1999) (Carney, J. and Hall, T.),
56n7
Parked (2013) (Byrne, D.), 23, 41
Parker, A., 42, 142, 152
Parpart, L., 99–100
The Passion of the Christ (2004)
(Gibson, M.), 134
Patriot Games (1992) (Noyce, P.), 73
Pedelty, D., 156n3
Pellis, S., 181
Perrier’s Bounty (2010) (FitzGibbon,
I.), 17
Pettitt, L., 2, 128
Phelan, A., 35
Philomena (2013) (Frears, S.), 62
Pickford, M. (1892–1972), 60
Pigs (1984) (Black, C.), 74
Pine, E., 128, 133
Pink, S., 117, 123
post-conflict, 119
Potter, A., 74
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Index
Power, E., 39–40, 44–5
Pramaggiore, M., 2
P.S. I Love You (2007) (LaGravenese,
R.), 7, 60, 82–93, 170
The Public Enemy (1931) (Wellman, W.
A.), 60
Puwar, N., 25
Queen’s Film Theatre (QFT), 121
The Quiet Man (1952) (Ford, J.), 4, 15,
17–18, 22, 88, 90
Quinn, B., 4, 182
Quinn, R., 45
Radley, E., 2, 48–9, 56n4, 97
Radley, Emma, 2, 48–9, 56n4, 97
Raftery, M., 98
Raining Stones (1993) (Loach, K.), 166
Rains, S., 87, 89
Ratoff, G., 156n3
Reefer and the Model (1987)
(Comerford, J.), 115
Reiner, R., 144
Renner, K., 56n2
Rentfrow, P., 49, 55, 56n9
Rescue Me (2004–11) (Fortenberry, J.),
93n9
Ride with the Devil (1999) (Lee, A.), 75
Ridley, J., 67
Riggs, T., 132–3
Rockett, K., 2, 35, 37, 39, 92n5, 116n3
Roeg, N., 75
Rolston, B., 124
Rome Irish Film Festa, 10, 181–3
Ronan, S., 6, 23, 26, 59, 63–8
Rotten Tomatoes, 92n1
Ryan, L., 96
Ryan, M, 115
Ryder, C., 126n7
Sackett, S. J., 37
Sadwith, J. S., 75
Said, E. W., 145
Samson and Delilah (1996) (Roeg,
N.), 75
Schildt, A., 154
Schmid, K., 118
Schumacher, J., 24, 26–8, 30–4
Schuster, H. D., 152
215
Seiter, W. A., 156n3
Selby, J., 35
sexual abuse, 47–56
Shame (2011) (McQueen, S.), 69n2
Shamrock Hill (1949) (Dreifuss, A.),
156n4
Shannon, C., 61
Sheller, M., 24–6, 29
Sheridan, J., 10, 62, 107, 160–3, 165,
171–2, 174–9, 183
Sheridan, K., 41, 45, 74
Shirley (2011) (Teague, C.), 64
Shirlow, P., 119
Shrooms (2007) (Breathnach, P.), 48–9
Siegfried, D., 154
Sigerson, G., 36
Silent Grace (2001) (Murphy, M.), 128
Sissako, A., 8, 107–8, 113–14, 116
Skeggs, B., 29
Slide, A., 2
Slim, H., 123
Smiling Irish Eyes (1929) (Seiter, W. A.),
156n3
Smith, C. (1928–2003), 60
Smith, J. M., 97–8
Smith, M., 125
The Snapper (1993) (Frears, S.), 62, 142
Snap (2010) (Winters, C.), 5, 47–56
Snyder, Z., 78
Sollors, W., 93n10
Some Mother’s Son (1996) (George, T.),
111, 128, 133, 185
Somerset Fry, F., 72
Somerset Fry, P., 72
Song for a Raggy Boy (2003) (Walsh, A.),
47
Song o’ My Heart (1930) (Borzage, F.),
152
Spivak, G. C., 114
Stalker (2012) (O’Connor, M.), 41
Stand by Me (1986) (Reiner, R.), 144
Standby (2014) (Rob and Burke, R.), 23
States of Fear (1999) (Raftery, M.), 98
Steffensen, K. N., 40
Stembridge, G., 19–20, 62
Stevenson, R., 152
Stone, O., 75, 112
Studlar, G., 61, 69n3
Sullivan, M., 118–20
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Index
Swank, H., 83
Sweet Rosie O’Grady (1943)
(Cummings, I.), 156n3
Sweet Sixteen (2002) (Loach, K.), 142
Taurog, N., 151
Taylor, L., 117, 121–2
Taymor, J., 75
Teague, C., 64
Thaddeus, O., 115–16
20th Century Fox/Sky Pictures, 26
Thompson, P., 123
Titanic Town (1998) (Michell, R.), 111
Titus (1999) (Taymor, J.), 75
Top o’ the Morning (1949) (Miller, D.),
152
Total Recall (2012) (Wiseman, L.),
69n2
Tracy, T., 2, 62
Trew, K., 118
Tucker, A., 22, 60, 89
Tudor, H., 71
The Tudors (2007) (Hirst, M.), 6, 75,
77, 81
Turner, T., 118
Umgelter, F., 153, 155
Undressing My Mother (2004)
(Wardrop, K.), 99–100
Urry, J., 24, 26, 29
The Van (1996) (Frears, S.), 142–3
Vanity Fair (2004) (Nair, M.), 75
Vaughan, M., 69n2
Vejvoda, K., 5, 47–56
Veronica Guerin (2003) (Schumacher,
J.), 24, 27–33
Vicious Circle (1999) (Blair, D.), 24
Vrebos, J., 75
Wake Wood (2010) (Keating, D.), 23
Walsh, A., 23, 47
Walsh, K. J., 42, 46
Wardrop, K., 7, 94–5, 99–102
Waters, M. C., 83, 88
Watson, K., 66
Weaver, D., 64
Wellman, W. A., 60
We Were There (2014) (Aguiar, L. and
McLaughlin, C.), 8, 117–21, 124–5
What Richard Did (2012), 44–6
When Brendan Met Trudy (2000)
(Walsh, K. J.), 42–3, 46
When the Sky Falls (1999) (Mackenzie,
J.), 24, 26, 28, 30–3
Whitaker, R., 94
White, L., 36
Whitelock, C., 49, 55, 56n9
Wigon, Z., 129–30
Wilde, O., 156n5, 170
Wilson, A., 75, 183
Wimmer L., 160–2
The Wind That Shakes the Barley (2006)
(Loach, K.), 160, 164–7
Wings of the Morning (1937) (Schuster,
H. D.), 152
Winston, B., 98
Winters, C., 5–6, 47–56
The Wire (2002–08) (Simon, D.), 92n3
Wise, J., 15
Wiseman, L., 69n2
Woods, A. B., 156n3
World War Z (2013) (Forster, M.), 67
Wright, J., 63
X-Men: First Class (2011) (Vaughan,
M.), 69n2
Yankee Doodle Dandy (1942) (Curtiz,
M.), 150
Yuval-Davis, N., 96
Zavarzadeh, M., 110
Zembrzycki, S., 122
Žižek, S., 115
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