Screening Ireland: film and television representation
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Manchester [u.a.]
Manchester Univ. Press
2000
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| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 320 S. Ill. |
| ISBN: | 0719052696 071905270X |
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| adam_text | SCREENING IRELAND
Film and television representation
LANCE PETTITT
Manchester University Press
Manchester and New York
distributed exclusively in the USA by St Martin s Press
CONTENTS
List of figures and tables page viii
Preface and acknowledgements x
Introduction
Screening Ireland xiii
A cultural studies approach to film and television xiv
Part I Cinema
1 Back to Ireland s futures
Locating Ireland historically 2
From end of empire to Euro-nation? 6
Postcolonial Ireland: not only after but going beyond 9
Arguing at the crossroads: historical and cultural debates, 1988-98 14
Notes 24
2 A century of cinema in Ireland
From the margins to the millennium? 28
The idea of national cinema 28
Early cinema in Ireland and the silent rise of Hollywood 31
Cultural and economic protectionism, 1922-57 33
From Ardmore Studios to the Irish Film Board, 1958-87 37
Interregnum in Irish film, 1988-92 39
Towards a cinema of national questioning, 1993-97 41
The bigger picture? 44
Notes 45
3 Ireland and popular cinema: from silent adventure to romantic
comedy
The textual terrain of cinematic representation 49
Defining popular cinema in the Hollywood studio era 50
Existing popular cultural representations 51
Irish Destiny (1926) 52
A landmark without successors : The Dawn (1936) 56
Making partition permanent: Odd Man Out (1947) 59
This is Ireland, Sean, not America : The Quiet Man (1952) 64
Notes 67
4 Documents in celluloid: non-fiction films
Orchid in the land of technology? 71
Documentary film: origins and traditions 71
vi CONTENTS
Analysing documentary film 75
Making the romance seem real: Man ofAran (1934) and
Mise Eire (1959) 77
Radical voices: Radharc: Derry (1964), The Irishmen (1965), The
Rocky Road to Dublin (1968) and Ireland: Behind the Wire (1974) 82
Notes 91
5 A cinema of romance and experiment, 1958-87
Irish cinema and the new Hollywood 95
Trying to swim with the big fish 96
Big bucks pictures: Ryan s Daughter (1970) and Barry Lyndon (1975) 98
Indigenous experiment 103
Competing commercially 107
Notes 110
6 Between heritage and Hollywood, 1988-92
Industry s triumph over culture? 114
Heritage film, Irish style 115
Confronting taboos: Hush-a-bye-Baby (1989), The Visit (1992)
and The Snapper (1993) 120
Box office Irish: The Field (1990) and The Commitments (1991) 124
Cowboys or Indians? Race and migration in contemporary
Irish film 127
In a land where green is white: Far and Away (1992) 130
A second coming: the Film Board revived 132
Notes 133
Part II Television
7 Cathode ni Houlihan: a short history of broadcasting in Ireland
British broadcasting in Ireland, 1924-66 138
Radio Eireann and national identity, 1926-60 143
Television s origins, crises and censorship, 1961-88 145
Beyond broadcasting: reregulation and new technologies, 1989-95 153
Television futures? Tara TV and Celtic Vision 156
Notes 159
8 The circus in the front room: popular television in Ireland
Talk, soap and song: television as entertainment 162
Mid-wife to contemporary Irish liberalism: The Late, Late Show? 166
Agri-soap, urban naturalism suil eile ? Glenroe, Fair City and
Ros na Run 170
Staging a TV spectacle: RTE and Eurovision 177
Notes 179
9 Situating Irish television comedy
The empire laughs back? 185
Playing with other people s rules 188
CONTENTS vii
(Con)texts, sitcom and society 189
Modes of comedy in sitcom 190
RTE comedy: a contradiction in terms? The case of Upwardly
Mobile 192
More jocular than jugular: Father Ted 195
Laughing at the peace process: Give My Head Peace 197
Notes 201
10 Documenting contemporary Ireland
Television documentary and its hybrids 205
Broadcasting, censorship and (Northern) Ireland 207
Channel Four s alternative Irelands 211
Locally, transatlantically Irish? Out of Ireland (1994) and The
Uncle Jack (1996) 214
Forbidden terrorities of the past? RTE and contemporary
documentary 218
Notes 223
11 Television drama and the Troubles
Television drama in a dramatised society 227
Understanding contexts for TV drama production 228
Early images: one-off plays from the 1960s 231
Casualties in the long war, 1972-85 232
Ulster soaps won t wash? The Billy plays (1982-87) and Lost
Belongings (1987) 235
Extending and reacting to TV s middle ground, 1984-89 237
Drama-doc or drama in the dock? 241
Peace drama - and after 243
Notes 245
12 Screening Ireland in the 1990s
Mapping Ireland s changing audio-visual space 250
Co-existence and creativity in Irish cinema and television 251
Re-inventing national cinema? 256
Troubles, ceasefires and peace? 256
Tripping up the empire: contemporary Troubles films 258
Reservoir prods? Recent images of loyalist paramilitaries 261
Heritage and literary adaptation films 264
Imaging contemporary Ireland 268
Notes 278
Appendix A: selected statistics 283
Appendix B: selected video and electronic resources 288
Select bibliography 291
Index of film and television titles 304
Index 308
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| title | Screening Ireland film and television representation |
| title_auth | Screening Ireland film and television representation |
| title_exact_search | Screening Ireland film and television representation |
| title_full | Screening Ireland film and television representation Lance Pettitt |
| title_fullStr | Screening Ireland film and television representation Lance Pettitt |
| title_full_unstemmed | Screening Ireland film and television representation Lance Pettitt |
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