imágenes exógenas de Irlanda, espiritualidad celta, comedias románticas, cine de viajes. de cine románticas, comedias celta, espiritualidad Irlanda, de exógenas imágenes Palabras clave irlandesa. diáspora la de narrativizada historia vasta la ymatizar interrogar de oportunidad la desperdicien películas que dichas que lamenta tiempo al pantalla, la de allá más inexistentes Esmeralda Isla la de imágenes de reciente proliferación la evidencia irlandés de lo cinematográficos indicadores y estereotipados anacrónicos de mente aleatorio, frecuente uso, yel presencia la de análisis El urbana. vida la de estrés ydel competitivos que huyen entornos de personas alas aportan isla la de vida de yestilo valores arcaicos que supuestamente los curativos poderes los yde rural Irlanda la de idealización la tiempo más por perdurado dondehan a menudoextranjeros, por realizadas Irlanda, de tográficas cinema representaciones las en es No obstante, irlandeses. expatriados de por generaciones emprendida sido persistentemente ha paz,” de “un poco donde encontrar natural y armonía soledad de irlandés paisaje aun Londres de grises” “aceras monótona las de realidad la desde ( Innisfree” de lago del isla que “La en Yeats hiciera escapada restauradora La Resumen cinema. travel romcoms, spirituality, Celtic Ireland, of expectations exogenous Arcadia, an as Ireland clichés, Irish : Cinematic words Key history. diaspora’s narrativised Irish of the corpus vast on the building and rogating inter of opportunity missed films’ the concerning aregret and screen the beyond not exist does that Isle Emerald an of of offerings proliferation recent the both highlights paper the Irishness, of signifiers cinematic clichéd and of anachronistic use, random frequently and presence, longer. the endured have By environments considering competitive and life urban of stresses the from people escaping that values and lifestyle primitive supposedly island’s of the powers healing the and Ireland of rural idealisation the Republic, by the experienced circumstances social and political economic, changed the notwithstanding where, outsiders, by made often of Ireland, portrayals However, cinematic the it in is expatriates. by Irish rehearsed persistently being find he where has would “somepeace,” harmony natural and of solitude of London’s scenery Irish 1893) to an reality “pavements grey” drab the from ( Innisfree” Isle of Lake “The by in Yeats undertaken retreat The recuperative Abstract RECUPERATIVE OF SPIRITUALLY OFFERS CINEMATIC Revista CanariadeEstudiosIngleses,68;April 2014,pp. 119-140; ISSN:0211-5913 FROM THE OLD TO THE NEW WORLD: NEW TO OLD THE FROM THE : estereotipos cinematográficos sobre Irlanda, Irlanda como arcadia rural, rural, arcadia como Irlanda sobreIrlanda, cinematográficos : estereotipos TRIPS TO THE EMERALD ISLE* EMERALD TO THE TRIPS Rosa González Casademont González Rosa Universitat de Barcelona de Universitat

The Rose The The Rose The , 1893) - - - ,

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 119 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 120 screen images screen my mind, may well have contributed to this apparently anachronistic, and much and anachronistic, have apparently contributed well may my mind, to this that, to considerbriefly anumber toeffect. factors what will and of end, I this To a with number of signifiers reductive become inflected has island the which in ways where where 1988 Jordan High (Neil horror Spirits and ghost films the and USA), No to Escape IR/HOL), 2009 Antoniak (Urszula Nothing Personal movie arthouse the IR/UK), Brady 1998 (Eugene The Nephew IR), Joffe (Mark Matchmaker The include romantic1997 comedies USA/UK/IR), the USA) USA/UK) 2006 Eyres Irish Jam (John UK/IR) (Peter Howitt 2004 of Attraction description are Laws this fit specifically that competitive environment.films and The urban come from an and female ally usu who are for protagonists aredemptive imbued with quality and traditional, quaintly rural, depicted as invariably Ireland look at an condescending and amused an protagonists—cast American featuring at least from Hollywood—or coming them many of number of recent Republic, by aremarkable films, the experienced in public. affections gay homosexual outdoors their or displaying andMick-Rosoft, exercising FitzPackard Hewlett named firms high-tech in working people too busy are Irish because empty are pubs that portrays and goals, material of grasp and on economic Republic’s liberalisation the advancement, spectacular sober,” and working have become hard Irish Simpsons’ episode hinges the Irish-set Homer’s “the around Built that clichés. such regret, and propagating realisation, on more proved than for episode seems bent the unfounded on this redressing like episode” (Doyle pond 1).the Irish-set for an However, apprehensive comments across family his Homer yellow town hapless when the the drags painting pants emerald-green men scanty in over of pots drunk gold fat, and battling leprechauns people to Irish “[e]xpect hour of warned begorrahs, an of programme the half airing before the weeks on of front whackery.” three the The Irish Times page article An “paddy show in the would indulge that U.S., when concern anticipating but also 17th, on March Ireland in the episode broadcast in the priorhaving to its airing and at cartoon animated influential the in pride featured at being feelings: mixed (S20E14),entitled of Grandfather” Name “In the the Yesterday’s Children The CAN/UK/IR), 2007 Roeg (Nicolas Ireland is not is to applyIreland to spotting criteria ofaview authenticity with Wood Wake and IR) O’Brien 2008 Shrooms Viel CAN), 2003 they offer they and of visitors Ireland west to the of urban arrival the around built also plots are considered, briefly their be for also will decade over last the released concurrently

and Trance (Scott P. 1996 USA), Levy Trance Notwithstanding the changed economic, political and social circumstances circumstances social and economic, political changed the Notwithstanding The Simpsons The series TV the that 2009,In news the My aim in analysing these cinematic (mis)representations cinematic these of contemporary analysing in My aim (Anand Tucker Year Leap However, (Anand films related USA/IR). 2009 several unrealistic and setting them against a ‘real’ Ireland, but to consider rather Ireland, the a‘real’ against them setting and (Christian (Christian Samhain USA), of Legend The Cole 2000 (Marcus representations of contemporary Ireland and the Irish. These These Irish. the and representations Ireland of contemporary (Paddy Breathnach 2007 IR/UK/DK), Ghostwood IR/UK/DK), 2007 Breathnach (Paddy (David Keating 2011 Keating (David IR/UK). (Richard LaGravanese 2007 2007 LaGravanese You ILove (Richard , P.S. and and

Daisy ChainDaisy (Michael Almereyda 1998 Almereyda USA),(Michael Puffball Dead Long Enough Enough Long Dead (Aisling Walsh 2009 UK/IR), UK/IR), Walsh 2009 (Aisling was received in Ireland with with Ireland in received was had set its 434th episode, its 434th set had (Tom 2005 Collins unrealistic unrealistic (Justin (Justin - - - ,

2010)” [FFI2011-23941], funded by the Spanish Ministry of Education and Competitiveness. and of Education 2010)” [FFI2011-23941], Ministry Spanish by the funded (1980- irlandesa yfílmica narrativa producción la en globalización la de efecto como disfuncional maligned, cinematic trend. cinematic maligned, on his heels” (Cited in Curran, 1989: 47). Curran, (Cited in heels” on his along bouncing straight, back out, chin cocked, fists figure: (a quintaessential Yorker) New the was Cagney James Irishman. of an that repeatedly was image the streets, the up from American, tough the (1963): Pot portraying to Melting the it came “When Beyond minorities York’s on New book racial their out in point Moynihan and Glazer As urbanites. as portrayed mostly been have they urban, part filth” patronising reactionary, as “offensive, it describing After here. analysed of films strand of the features Leap Year is times recent in more hostility generated has (1997),that Own film but (1988) the Devil’s Dying The the in for Pitt or Brad A Prayer in O’Rourke Mickey stars film of non-native on screen accents Irish weird (1999) the You Get as Closer well as (1998) Devine Ned Waking or The (1959), People Little the and O’Gill as Darby such films in Ireland an imagined history of the Irish in America” (Rockett 1997: (Rockett America” in of Irish the 178). history imagined an constructing or, backwards, its reflections in Irish-Americans, third-generation and second 1920s, exclusively concerned with the to become almost “was sound cinema since of reduction immigration the aresult of Irish As priest. of the mother the and positively-inflectedfigures the and of family 171), the centrality the particular in 1997: (Rockett there” values of loss ‘Irish’ of potential the awarning also is there theUSA, but in advancement social and the material stress “potential for films The America. urban homeland to rural thefrom theIrish the of is progress films early in themes one of most popular not the migration, surprisingly Irish scale mass with coincided cinema of period silent the Since minorities. American other ethnic than more prominently films in featured characters Irish that and of audience time ema the of cin the 1997, part up asubstantial made Irish the 2009) that corroborates Barton it. about knowledge misconceived, or little, with country, to another usually travels aprotagonist which in romances travel and conventions generic the comedies filmic and romantic both of seaboard, its western and Ireland representation of rural of on relationship such idealisation screen, the the in long-standing reflected as America and Ireland between ties evolving, time or rebel, of Irish Robin Hood type eighteenth-century an Hudson Rock as featuring (e.g. powerful the outwitting productive of theme weak the exploitalways which the thepast, in set movies swashbuckling from semi-fictional Apart films. Hollywood in at all featured Cold War the hardly in Ireland period, Britain US and the between partnership growing the and WWII during neutrality from the its of resulting United States affections land’s low position political the in of of this upcoming atrocity.” upcoming this (1966),Donegal of FightingPrince The on exploits the of legendary based the and fling [ fling and Hood 2 tha Back Leprechaun: Irish Times Scholarship on early American cinema (Joseph Curran 1989, Curran Rockett (Joseph cinema Kevin American on early Scholarship 2 1 familia “La Project Research National bythe supported been has paper this for esearch * of Ire because century, partly twentieth mid by the otherOn hand, the ven that the experience of Irish immigrants in the new world has been for the most most the for been world has new the in immigrants of Irish experience the that ven of depictions clichéd crudely Hollywood’s deplored often have critics and udiences

Gi A R film reviewer Donald Clarke (2010) suggested “that every reader buy [ buy reader every “that (2010)Clarke suggested Donald reviewer film 1 These factors range from the close, and at the same thesame and at theclose,from range factors These

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REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 121 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 122 the deeply engrained cinematic myth of the Irish emigrant’s success in the USA. the in success emigrant’s Irish of the myth cinematic engrained deeply the undermined hardly have they distribution, international limited their given Bronx, the in sites building in working migrants Irish of present-day predicament 1998 the depict USA), Smallhorne (Jimmy when 1972), of 1981 Hunger Strikes the US involvement crucial Peace Process, and the in Bloody (30Troubles Sunday as such events January key and Ireland, Northern in Hugh), Red leader outbreak of Gaelic the the not it until was sixteenth-century Pictures (US), with Irish (Hell’s Kitchen Films) and British (East of Harlem-UK) input. of Harlem-UK) (East British and Films) Kitchen (Hell’s Irish (US), with Pictures myth-making that, with a few exceptions such as Highand Spirits as such exceptions afew with that, myth-making of own its reflectiveness However, aself-aware Irish. the contains Man Quiet The and about Ireland (and images fake) of mostly popular purveyor main the being of accused been repeatedly also about butIreland mosthas widely-known film it is the This only not USA. andindustrialised competitivethe nothe in could find of asimple life search in Ireland in Irish-American’s of arrival an account amusing John later in Ford’s years (1952),Man ship,Quiet afew would repeated be The the and “important” are no use. are “important” and the The of Luck Irish in leprechaun to alocal where, according a place Ireland, rural find lovein they spells, magic and legends leprechauns, with encounters out various sorting after and, to Ireland second) from America travel Stone the of Blarney in the theft the of investigating charge in detective insurance Bing andCrosby an film) (as first the in to himself true staying and wealth seeking on outsiders. Tyrone between Power (in role the struggling reporter of anewspaper effect may island to atrip the powers that about transformative the late 40s, the Morning legends). magic and fairies in belief awhimsical with (often coexisting a redoubt Western and in of spirituality Celtic values culture and lifestyle primitive enclave theof last simple, as Ireland figures that iconic Celtophilia and timental of of abrand sen rise the and Ireland in root-searching and tourism in increase aspectacular programmes, Studies up of Irish setting the with materialized which heritage of their Americans of 1960s Irish the among prompted are-examination Campaign Rights of Civil the wake the groups in minority among ofidea ethnicity 1992), 1992), theperiod— of films Troubles,the most successful the When not to related tofrom flow Hollywood. began movies action Irish-themed traumatic social and psychological experiences they suffered in Ireland. in suffered they experiences psychological and social traumatic recover from the can protagonists where alienated place the the as America portray are the object of this study. object the of this are thosewhich from certainly and Ireland, in set films absentis from most American

interest in Ireland in interest (Alan Parker (Alan Angela’s Ashes 3 a relationromantic through enacted visit Ireland, Theto recuperative 1948) Koster (Henry the in The of Luck Irish Topcase and the is This o’ the of the 1950s the in adventtourism the reawakening of the Still, mass and 4 ough written and directed by Jim Sheridan, by Jim Sheridan, directed and written ough 2by4 2by4 1996 and IR) Gill (Elizabeth Streets the in Gold films, low-budget two though ven (David Miller 1949), the first two cinematic examples, both dating from 1949),dating Miller (David both examples, twocinematic first the Th E

was rekindled in the United aprolific the vein and in of States rekindled was

1999) 2003) Sheridan (Jim In and America In America Far and Away (Ron Away and Far Howard was produced by Fox Searchlight by Fox Searchlight produced was , words like “hurry” “hurry” , words like The Matchmaker The 4 3 — - - , includes several articles discussing the city in contemporary Irish film. Irish contemporary in city the discussing articles several includes city being represented as “either a threatening site “either represented disarray, or being of and asite as city crime of athreatening utopian” 93), mildly (McLoone 2008: and celebratory “both is the away that in drunken, vengeful countrymen. vengeful drunken, by death to clubbed is powers, healing of his loss the after him” restore even maybe him, recharge somehow might Ireland that by“some sense home guided returns who Frank, whereas death, own his William’s fatal: home proves visit the (1979) Healer Faith Friel’sThe Brian (1965) in Field Hardy The Keane’s B. John Frank to in and Dee William to happens as Sometimes, ending. ahappy has rarely home very visit emigrants’ the absence, urbanites. of disenchanted sake the for lifestyles and landscapes of traditional tion commodifica current or the mind, of the Arcadia apastoral as homeland ancestral the construct to diaspora of Ireland’s impulse mythopoeic the to growth, on urban consequent dehumanisation and industrialisation of effects disruptive the over concerns and Celt, of the exoticising and primitivism of extolling Romantic the from ranging discourses by wider informed become also but would ism, national cultural of Irish pastoralism suburban bythe reformulated and appropriated being upon potential regenerating of its implications positive the with imbued be not only would discourse, imperial disabling and often patronising the by of lowliness mark as a articulated trope, rural The trends. ideological and of factors number byalarge shaped but it was experience colonial island’s and the State. A number of Irish films have also portrayed urban Ireland, urban portrayed also have films State. Anumber the of Irish and theChurch in of loss confidence and secularism mounting the as well as to sex, attitudes in gender in and relations shifts as such realities new to accommodating comedies. romantic theclichéd most in as strong as is vein escapist later films’ on, these argued be However, it will as Arcadia. a pastoral as of Ireland construction mythopoeic the out of balancing have provided could asalutary experiences of fearsome locus the becomes Ireland of thewest scenic which in horrornumber and of ghost films (1996-97) emigrants. or stories of in returned Great “The Hunger” (1942),Kavanagh’s Leenane The McDonagh’s Trilogy Martin in in one Patrick life finds rural vision of relentlessly Irish on to bleak screen the the Boy Jordan’s Neil as such Butcher However,tions. The instances from isolated apart regeneration. andpersonal renewal national of thepossibility offered that innocence Arcadian and purity movement Irish-Ireland asitethe as of cultural by and Revival perception the of Westand the by of Literary writers of the Ireland of peasant the myth the with intersects and links that Ireland of rural idealisation of 1950s by the an informed decade is the population in Irish erased, havethe been unemployment of by experienced levels high theand emigration as as well conflict religious and opponent) political ring of social, his where traces and the killed Sean where America opposed to ever hurt gets (as nobody fighting, despite constant the (1997IR/USA) and Kevin Liddy’s (1997IR/USA) Kevin Country and This does not mean that recent Irish cinema has notcommitmentshown a has cinema Irish that recent not does mean This Even so, Even 7 6 5 formula such challenged, and with, engaged have repeatedly writers Irish e 2010 Spring/Summer issue of Éire-Ireland (Vol 45: 1 & 2), devoted to urban Ireland, (Vol Ireland, 45:urban to 2), 1& ofÉire-Ireland devoted issue e 2010Spring/Summer espite having transformed the island into a haven of peace and beauty during their their during beauty and of peace a haven into island the transformed having espite bythe prompted mainly was character unique of its notion the of Ireland, e othering Th D Th portrayal of Ireland as a place of bucolic ease where, of a place bucolic ease as ofMan’sQuiet Ireland The portrayal intention to industrialise the land precipitates the drama and and drama the precipitates land the industrialise to intention 6 The recent release of a substantial of a substantial The recent release (2000 IR) there is no is equivalent there IR) (2000 5 7 often often - - - ,

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 123 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 124 Long Enough Rose ( Isle Innisfree” of byLake Yeats “The in undertaken trip imaginary recuperative people on The screen. the luring to Ireland magnet main the still are its otherness and attributes scenic economic island’s current the from the downturn, deriving tensions the and past, country’s poverty-stricken oppressed the Obliterating and of Ireland. exogenous expectations and interests personal their compromise between a to reach and cinema of mainstream aesthetic populist to the themselves to align some Irish input. Irish some have or havehere Ireland in been produced analysed films of unrealistic the several that thefact in reflected as myths, long deeply ingrained and interrogate or discard to expressions other artistic prone less been than has though, cinema, Indigenous (Holohan 2010: strictures” 112). sexual and liberation fromhedonism societal and rural setting is a form of improvement dates back to the Victorian period. Victorian the to back dates of improvement aform is setting rural experience. As Glenn Hopper notes, irrespective of the motives for travelling, the the Glenn of motives for Hopper the travelling, As notes, irrespective experience. society, but who up atransformative ends undergoing backward and little-known lookthe patronising a on casts visitoraround a whoinitially built by films and tives narra by colonial productively used adevice is audience for amainstream country of visited the mediator of peculiarities and the spectator as outsider an acting ing some display of conventions Hav for genre. the they that in embedded narratives, considered be alatter-day form of colonial also may positive experience and tive values’” (Negra, “Fantasy” 141). “Fantasy” (Negra, values’” one’s or fortify re-make its position ‘family a“national site one as which can in couple or and corroboratesfamily dysfunction” and to difficulties professional antidote “as an positions Ireland moments careers, their in transitional gotiating of Hurley, ne process the Farrow, or of in Mia them Roberts Julia all Elizabeth “Romance”). Moreover, Marlon Brando, of as celebrities such to Ireland travel the “New”; (Negra, category ethnic idealized and ‘innocent’ an as ness—constructed on Irish place—and rejuvenated, natural somehow yet economically an still as component therapeutic figured amarked conferred on island—positively the violence from the of Troubles, the disassociation Ireland’s increasing with ciding coin lifestyling, nostalgic of millennial adiscourse and structure family nuclear of events by September the 11.triggered of the of disintegration Awareness the of tensions the wake the in came of Ireland point appeal perception the and in news), celebrity and turning- series the TV ads, (particularly culture popular stresses of modern life. stresses from the by escape people and aconsoling who seek expatriates by Irish rehearsed where harmony he would find “some natural persistently peace,” and tude being is , 1893) of London’s reality drab from the “pavements of soli to ascenery grey” 9 8 transforma a becomes visit which a Ireland to in The films proliferation of by Negra’s Diane argued As recent work on American contemporary s documented by Maxine Feifer (163-200), the notion that travel from an urban to a to urban an from (163-200), travel Feifer that notion the byMaxine s documented of case the is uch A S , Nothing Puffball Personal, 8

This is probably because market imperatives impel filmmakers filmmakers impel imperatives market is probablybecause This 9 The Nephew The , The Laws of Attraction, Leap Year Leap Attraction, of , Laws Daisy Chain and Wakeand Wood, Ghostwood , Shrooms , The Matchmaker , Dead The The . ------only allows them two hours of IA (Independent Activity) every day. every Activity) (Independent of IA hours two them allows only that itinerary tight and on afixed Europe round tour who McIlhennys, the like tourists American ridicules also film The man. Italian but married ahandsome with arelationship starts she when ity real a bittersweet becomes romance of dream whose but to it on holiday makes Venice finally who secretary amiddle-aged as Hepburn Katharine it for features love story Italian-set hackneyed the Daves 1962) Daves 1950; to Rome travel or Venice protagonists of female ( a which in number films from classic love: range in these to, reduced been falling involved, just often or has even has of journeying process transformative the tourists Chadha’s film across the race divide race the across relationships on successful any embarking hardly and Africa and of India cultures of ancient the mystery by the Western overwhelmed to being portray travellers develop and/or reinvent (xiii).have oneself and cinema tended fiction But whereas to conditions opportunity of journey, the the always is of centre there at the travel thematerial and theperiod of destination, place theactual concerning differences ment. Despite Liz saying at the end, at that the ment. saying Despite Liz of notion aform the of improve of as trite illustration travel aparticularly is Bali, some by in spending monthsand Italy, India fulfilment independence spiritual and out to sets find and life married bourgeois her entrapped in easy Roberts) feels Julia Murphy (Ryan 2010). Love Pray latter, The which (playedin Liz old 32-year by Tuscanthe Wells (Audrey Sun 2003), Villa Amalia (Benoît Jacquot Eat 2009) and are mostly invested in the pursuit of love are often labelled) determines some of determines the of pursuit labelled) love the often in invested are mostly are efforts romcomsthecharacters’ where the female-targeted as “chick-flick”genre, independence. newfound she divorcee, promptlyover a handsome one she meets forfeits her soon year, as as for without and ties comfortably by travelling herself revelation for, indulging after Prawer Jhabvala 1975 / James Ivory 1983). 1975 Ivory /James Jhabvala Prawer 1985), to India (Ruth (Ruth 1990) Dust and or Heat Bertolucci 1949 Bowles /Bernardo (Paul Sky Sheltering The Three Coins in the Fountain the Coins in Three (Isak Dinesen 1937 Pollack Dinesen /Sydney 1985), (Isak 1924 Africa of Lean Forster M. Out /David (E. 11 10 comedythe to romantic movies’ the affiliation (or other hand, On the or experience notHer does quest her own lead ground-breaking to any you. from not withheld be will truth the then about yourself, realities difficult some very forgive and to face all of most prepared you are if And you something. to teach way the along encounter you everyone you and enlighten trip that to you in happens that everything gard to re willing truly you are if and or internally, journey, externally either seeking to bitter old out house resentments), your on set from a truth and anything be can (which comforting and familiar everything behind to leave brave enough you are If avid Lean’s Summertime Lean’s avid or instance, in Heart in of Darkness or instance, D F 11 (Norman Jewison 1994), You Jewison Only (Norman as such Under to recent instances (2005) notable being Prejudice exceptions], and Bride for American 10 (1992) Gupta’s of Rain Memories [Sunetra Gurinder and (1955 UK/USA) constitutes an interesting departure from from departure interesting an (1955 constitutes UK/USA) , Jean Negulesco 1954; Negulesco , Jean (Joseph Conrad 1898 / Nicolas Roeg 1993), 1898 Roeg /Nicolas Conrad APassage (Joseph William Dieterle Dieterle William Affair, September Delmer Rome Adventure, Delmer - - -

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 125 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 126 “the dominant theme [...] which provides the central dynamic of the genre” 4). genre” of the dynamic central [...] the theme provides dominant which “the whether they contribute to promoting the trend is open to conjecture. to open is trend the promoting to contribute they whether or women foreign among exert men Irish attraction the reflect here analysed films the Whether (O’Connell). now non-Irish are clients females their of all aquarter that extend the to relationships, Times women to giving up everything for a romance with a cute country Irishman. a cute country with for a romance upwomen everything to giving morph career from emancipated protagonists their Ireland, in ashort period after is typical of the silly banter that locals often engage in: engage often locals that banter silly of the typical Year, is Leap frontation. con of sexes’ the of a‘battle parameters the presented within typically are which and apart, kept them had that lovers hurdles potential overcome the initial the after closure narrative achieve and for Mr. Right search female) protagonists’ (usually the the of progress trace light-hearted their plotlines Thus, features. predictable films’ by extremely traditionalist codes of “feminine” and “masculine” behaviour “masculine” and of “feminine” codes traditionalist by extremely underpinned certainly are analysis under comedies (Rubinfel). Irish-set The society contemporary in prevailing those than much moregender are roles traditional that 12), (Mortimer 1990s the marriage since tend to comedies depict through line brought into back was woman rebellious when the right set eventually was which what might be called “the topos called be might what through over of female gender male hierarchy inversionby a temporary of social the subjected to mud, rain, hail, cow manure and vomit. and manure cow hail, rain, mud, to subjected variously and ridiculed is she marry: to she’s destined of aman rogue brutish rather upbythe wised and earth to down brought be must woman young uppity the Day. Furthermore, on Leap propose to women allows that Ireland, in current still supposedly atradition, to thanks initiative the take only can Anna woman, career aspirited being Despite proposal. amarriage for wait to have women that cocaine) in The Matchmaker in cocaine) larly those arising from linguistic differences or idiosyncratic indigenous customs, indigenous or idiosyncratic differences from linguistic arising those larly plausible, are particu clashes the Occasionally ways. urbanite’s of rural ignorance derived from an mishaps social as well as clashes country, tend to involve cultural about the knowledge little short-term with as Ireland tourists visitors or accidental in arrive who the by protagonists, faced difficulties the that is trait other distinctive pub drinking, fighting, matchmaking or bantering. matchmaking fighting, pub drinking, the in lives their to who spend seem all eccentrics local colourful encounters with the old-fashioned as such and clichés on bizarre hinge they but most of times the report that her service had noticed a large increase in overseas women seeking Irish men for for men Irish seeking women overseas in increase alarge noticed had service her that report 16 15 14 13 12 “I never know what you are talking about.” talking are you what know “I never about.” I’m what “Ah, talking know you awell” digging are they like look “You they do eejit, awell.”“And dig “And ajourney” end on aSunday” engaged get to luck “It good is and and hooky play or instance Irish Irish an in stated website, adating runs also who counsellor Kenny, arelationship ary e following exchange prompted by seeing the protagonist couple kiss at the end of end the at kiss couple protagonist the by seeing prompted exchange e following stands up as being particularly reactionary since it is based on the premise premise on the based it is since reactionary particularly being upas Year stands eap n her recent monograph Romantic Comedy monograph recent n her F M Th L I 12 Nonetheless, whereas classical Hollywood comedy was often structured structured often comedy was Hollywood classical Nonetheless, whereas . of the unruly woman” (Rowe 41)—aof unruly the disruption mitching mitching in in The Nephew The Claire Mortimer lists ‘battle of the sexes’ as as sexes’ of the ‘battle lists Mortimer Claire 16 ; (i.e. fun vs. vs. (i.e. fun crack of abit have 13 14 and, and, An 15 - - -

front of apparently tame dogs ( front dogs of tame apparently on road ( the cattle by stranded are they which in situations prove funny inept, providing to totally be butIrish Jam not is Cornwall. Ireland even of case the in which countryside, the middle theof in right themselves find they moment from arrive, the 2, protagonists of the Appendix stills the in illustrated As etc.). hill, agrassy down rolls pelted by hail, robbed, gets then cows, behind stuck don’t trains she on is Sundays, (there to run Dublin from Dingle to get no taxis, are viewer, most of naïve the even credulity the strain that innumerable vicissitudes and days two her more than it power the down and supply takes of awholetakes village, Year Leap in instance, For world infrastructure. athird with countryside, unspoilt extremely depict an “computer (15), to machine” computer, talk[ing] to answering machine films the of image the through society Irish when characterises Derek Mahon time the At imagery. films’ from the expunged are of modern lifestyles traces all while Ireland, any shot urban hardly of show films the open toIreland, fields the of Boston/L.A. – – – moreclosely, based, or plotline less formula: thecodified following on highly and similar of a remarkably parameters the told are within and of Irishness, signifiers rely hackneyed on stories of films the parallel the apparent that becomes soonIt of films. the structure narrative to the turn errors, Ishall ondwell factual Appendix than in 1. rather Here, of films the synopses the in reported are of these Some situations. and one’s images due of presence repeated unlikely to the disbelief You, I Love P.S. Jam, Irish of Attraction, Laws The Nephew, Watching accuracy. films the factual and ence of coher degree acertain value they presumably details, to provide ethnographic – The Quiet Man Quiet of The shooting the while that irony fact the in certain to see fail one cannot not realism, prosaic make-believe, of is cinema basis at the that Despite knowing renewal. spiritual to their leads eventually totrip Ireland minor problems visitors, the more cause to the sophisticated modern and locals, malicious often of and intrusion nosey the and Ireland rural in simplicity of life

Th A Th B rief introductory shots to establish the far from cheerful situation of pro the from cheerful far the shots to establish introductory rief ccording to the conventions of the romcom genre, following initial difficulties difficulties conventions to the ccording of romcom initial the following genre, e love relationship is then further cemented with romantic walks in the beauti the in walks romantic cemented with e love further then is relationship e protagonist arrives in (rural) Ireland. (rural) in arrives e protagonist Whereas Irish locals live at ease with the natural environment, visitors the natural the with at live ease locals Irish Whereas York/ New from urban journey on embark alife-changing characters Since ruins. and castles picturesque with dotted often is which countryside, ful pub. music,local at the traditional to Irish dancing hectic by accompanied often by intense ignited drinking, invariably is romance the that is though, films, Irish-set these distinguishes other.each What for meant are they that lovers potential realise the or misunderstandings, tagonist in her/his original milieu in America. in milieu original her/his in tagonist Though viewers might not expect romantic comedies romantic might expect not viewers Though The Matchmaker The the protagonist’s attempt to recharge the battery of protagonist’s her the mobile battery the attempt to recharge and and Leap YearLeap P.S. I Love You, Leap Year You, Leap I Love P.S. Leap Year, Leap , though, one to frequently , suspend though, required is , High Spirits ), etc. Still, although the the although ), Still, etc. ), paralysed with fear in in fear with ), paralysed

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REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 127 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 128 the fact that in Ireland castles and Big Houses bear witness to the island’s troubled island’s to the witness bear Big Houses and castles Ireland in that fact the disregarding of protagonists, the for romantic tryst the setting apicturesque as gaze the tourist of thepresentedinvariably are for pleasure 2).Appendix buildings These films (see the in most of image becomestaple a also have ruins and castles cliffs) Giant’s the of Killarney, Wicklow, Causeway,Co Burren, or the spectacular lakes the (whether in spots Glendalough natural beautiful for, from featuring Ireland apart comedy. romantic contemporary the in ritual courtship the of astaple fixture as (5) Mortimer highlights Claire that tête-a-têtes over pub intimate a meal the Irish to the relocating bious imaginary, of the close-knit village of close-knit the values communal romance—the budding contributing to the often natives the with 2), (see together Appendix walks scenic take distribution, couples always national the troubled urban dwellers of global capitalism” (McLoone 94). capitalism” of dwellers global troubledthe urban to landscapes traditional Ireland’s selling [and tourist industry film] on asuccessful Tiger “partially economic of Celtic the feat built the modern Ireland technologically of 1950s area unspoilt to the later a Mayo, other technology and Co five decades power generators bringing required paradise, aprelapsarian as Ireland established experience the very essence of the nation’s culture, in all its myriad forms” (Davenport et al. 80). al. et (Davenport forms” myriad its all in nation’s of the culture, essence very the experience and examine can you which through window pub... broadest the the in loudest beats heart social abroad as a representational convention arepresentational abroad as of Irishness. marketed economy been lucrative tourism, it of Irish sector and and the has vital a is industry drink the as insofar abstinence, and drinking excess between veering attitude by an characterised asociety is Ireland area this in that proving culture Irish habits in on drinking alcohol consumption and available literature profuse the Notwithstanding dance. alcoholand/or Irish of influence wild under the a inhibitions their loose all way when they banal a rather in comes protagonists, the of life, therefore the in and point romance, the in turning the majority of cases, the in Indeed, theunpersuasive. and seem trite motivations quite films, by the used culture andIrish forIrishness signifiers Givenof arbitrary modern the life. antidotethean stresses to visitorsas the offers Ireland regenerative qualities the are exactly what viewer,to puzzle is though, left Westdiscerning The of Ireland. the in aquiet life and of romance economicambitions for sake and concerns the professional soon discard pub, at the visitors the will drinks pouring unless ing, by migrant workers who have themselves come workers from abroad. who have themselves by migrant tend to staffed be increasingly establishments these shops hotels and as bars, like public in spaces to encounter populationrare serving of native representatives the thatbecoming is it fact the disregard clearly though, films, The hail. protagonists from where the societies modern capitalist the in competitive prevails spirit that Another reductive cinematic signifier concerns the visual tropes of rural rural tropes of visual the concerns signifier cinematic reductive Another Insofar as Ireland’s natural beauty is a potential asset for the films’ inter for films’ the asset apotential is beauty Ireland’s natural as Insofar In the fantasy Ireland of romcoms, the where Ireland people work never seen are fantasy the In 17 ot surprisingly, then, the latest edition of Lonely Planet Ireland edition latest the then, ot surprisingly, N

thus offering a sharp contrast to the individualistic and theindividualistic to contrast sharp a offering thus 17 The films draw on this du draw on films The affirms that “Ireland’s “Ireland’s that affirms - - - recent films, Puffball recent films, home. Three ancestral Irish their in lifestyle hard-drinking to up give their expect second acouple son the ayoung in with and on back track marriage their to get wish couple daughter a a with young case first the in of healing: search in Ireland as well. as and and pub and a wild Irish dance (see stills in Appendix 2). Appendix in (see stills dance Irish a wild and pub local the to visit customary the with thaw to begin aloofness woman’s stubborn young the it makes unimaginatively, quite but then, sight, in locals whimsical without and austere but unusually beautiful as Ireland rural portrays it that is film of the aspect original Another romance. usual of the means but not by situation, unexplained) (though out of a distressful coming is who protagonist Dutch the for beneficial be will of Connemara landscapes austere the to moving romcoms: American the from but it differs of Ireland west the to woman of ayoung trip of the formula used much the to resorts 1). Personal Nothing Appendix in (see synopses characters and plotline formulaic otherwise the to twist mocking refreshingly a add that touches humorous contain comedies The Personal. Nothing the picturesque appeal of ruins, the the of ruins, appeal picturesque the Despite farmers. tenant as survive hardly could and Laws Penal by the disenfranchised utterly were population native Catholic the when time centuries—a nineteenth early and eighteenth the during Ascendancy Anglo-Irish landowning prosperous bythe commissioned were Houses Big whereas land, conquered recently their defend to order in Anglo-Normans bythe century twelve the in built fortifications were castles first The class. ruling of the status economic and social political, the colonial past, the War of Independence and the Civil War. Civil the and War of Independence the to Land Wars the from unrest, of periods during on fire or set attacked been having of their result left by the wounds of famine, poverty and emigration. and poverty of wounds by famine, the left industries of post-industrial global capitalism.” global of post-industrial industries growth the as entertainment and tourism estate, real of treatment in its prescient surprisingly is film the in [...]1990s in the place took Made that 1988, ethnicity Irish of commodification the presages Jordan’s film (52) ways, many “In Pramaggiore Maria to According haunted. is really castle their out find to only tourists, American gullible attract to ghost-tours advertise castle Irish dilapidated his first big-budget Hollywood film Highfilm Spirits big-budget first Hollywood his done had Jordan Neil 1988 in as with Arcadia, apastoral as of Ireland construction the attempt to demystify an as it them to tempting read is romantic comedies, the with concurrently have released been films these as site. Insofar aconvivial in romance than incidents rather terrifying experience wherevisitors horror Ireland and to films everyone wants to see. It’s a dream to see a castle, and the biggest dream of all is to stay in one” (Boland). in stay to is of all dream biggest the and acastle, see to It’s see. to adream wants everyone what are castles The like... story-book legendary, are “Castles Ireland: from seeks tourist American mature typical the what are welcome friendly and a roots, sheep, music, fields, green castles, Ireland, hence supposedly superior, other. superior, supposedly hence richer, of but aprimitive, that spiritually and depict still is they latter, Ireland the of the despite picturesqueness above; indeed, quaint avoiding the analysed comedies Trance Trance 21 Castles and Big Houses are also staple features of a large number of ghost of alarge staple features also are Big Houses and Castles 21 20 19 18 Escape to Nowhere (also entitled Damned Nowhere of House to Escape the as such examples Early Ultimately though, the horror films prove to be as escapist as the romantic as escapist horrorproveas the be though, to films Ultimately ccording to some U.S. journalists invited by Fáilte Ireland to a week ‘press trip’ of trip’ ‘press a week to Ireland by Fáilte invited journalists U.S. some to ccording ndeed, for centuries, castles and Big Houses in Ireland stood as physical emblems of emblems physical as stood Ireland in Houses Big and castles centuries, for ndeed, and Matchmaker The comedies the are ese is a humorous take on American expectations of Ireland. The owners of a owners The of Ireland. expectations on American take ahumorous is Spirits igh A I Th H The Eternal The title (alternative 18 and that images of empty, half-derelict houses are the visible scars visible of the scars empty, are houses images half-derelict that and , The

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REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 129 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 130 the nearby forest over 1000 years ago. years 1000 over forest nearby the in alive buried were who child and of a mother spirits the for searching while disappeared father his Ghostwood in pals; of her all murder to her caused has mushroom a hallucinogenic that realize Tara, young survivor, sole the and spectator the both film of end the the at carnage: and chaos to leads experience but the Shrooms in of cannibals; clan incestuous of an ancestors the across come legends Celtic other and Druids ancient of the rituals that in most of the cases the visitors are American visitors the are most of cases in the that fact The them. decimating serially and spirits stalking people nasty and by disturbed colleens fiery and characters whimsical across coming of when, instead dashed of country the positive have their expectations Ireland rural visiting plot: urbanites foreignersall or similar follow a They horrorIrish-set films. explosion an of been has there that decade last it the only in is cinema, American in of fear figures as banshee the and leprechaun the as such motifs ofpresence Irish woman. American of an into story the Midlands East English fromof the awoman account autobiographical the second turns the and from Somerset to Ireland story relocates of first adaptation screen the Weldon’s the based: respectively are fictional by title Fayof same Weldon the (1980) (1993) Jenny and Cockell they on which Children modern society. Puffball Significantly, of capitalist shallowness trivial of theOld signifier vis-à-vis main values become the World’s has Ireland uplifting terms journey. cinematic in that it Indeed, probably a rewarding is becomes case the Ireland to rural troubled move and urbanites of sophisticated taxing the though, Eventually, ancestors. of their or ghosts by the mythology from Celtic creatures tricky by haunted invariably are surroundings their and extraction) of Irish are tagonists they buy inherit the or andmansions many of pro (since cottages Irish The forces. by otherworldly posed have ordeals to overcome protagonists the frightening result, a as rites and, fertility and changelings about druids, beliefs Celtic in saturated ing of its potential therapeutic effects. therapeutic of its potential and vision Ireland of picturesque romanticised the or challenging, even of engaging, she her lost in former existence. children scattered the on of mission reuniting the take Jenny to recover her will past, Given chance the incarnation. in a out,happened finds previous be to herself Jennywho, eventually as 1930s the in died who of had woman 37 age at Irish and the unfortunate about an dreams by recurring her apparent disturbed is happiness after to Ireland who travels Cole, Jenny woman, American married pregnant a portrays film The past. the with encounter asymbolic through of her hidden traumas protagonist’sthe unearthing dren Yesterday’s Chil aremote village. in Irish anew on starting plan others, the baby in of a losing experience tragic the and one London in from the case, grind escaping offers a variant of the healing trip pattern for the rural Irish west facilitates facilitates west Irish rural the for trip pattern the of healing variant a offers Despite Ireland’s prominent output horror the and of and ghost literature A feature common to all these films is that rural Ireland is portrayed as be as portrayed is Ireland rural that is films these common to all A feature 22 e Legend of Samhain of e Legend add an Irish or Irish/American dimension which was absent in the books books absent the in was dimension which or Irish/American Irish an add In In Th a New York psychologist travels to a remote village in the west of Ireland where where of Ireland west the in village aremote to travels York aNew psychologist a gang of American teenagers arrives in Ireland to pick magic mushrooms mushrooms magic pick to Ireland in arrives teenagers of American agang , a group of American university students interested in the the in interested students university of American , agroup 22 offers the films the opportunity the opportunity films the offers , they find the place inhabited the place find , they and and Yesterday’s - - - with [the realities of] contemporary Ireland” (138). Ireland” contemporary of] [thewith realities its engagement and history collective its narrativised between a reconciliation ates negoti diaspora the which through a “self-interrogating as framework functioned have fruitfully could to Ireland Americans of trips Irish cinematic recurrent the (139). Ireland” of context the contemporary within experienced be Consequently, to narratives for those provided opportunity the [the of travelling] possibility new historical) or (fictional [...] of narratives use the through constructed predominantly been ‘old to relationship had the country’ cultural of their diaspora’s understanding not a romantic comedy. Through the story of an elderly history teacher from Illinois who travels travels who Illinois from teacher history elderly an of story the comedy. Through not aromantic Popular Culture 1945-2000 Culture (2007), tourism advent beforePopular the whereas of mass in her in book The Irish-American Rains by Stephanie to aperceptive point raised of spirituality. According reservoir and Arcadia apastoral as of Ireland construction of diasporic the are-examination negotiation, particular in for cultural aspace as to function opportunity the missed having their Iregret all Above committed. than my rather objections be for would omitted actions Irishness, of signifiers clichéd and applywell. as to them features York New use repeatedly “ which as but comedies to those not does Irish-set refer McDonald to explicitly the Although (97). of sexuality (85), de-emphasizing by amarked alove characterised relationship [they] romance produce[[viewers] then perfect the ] for [the]with protagonists” society, contemporary “only in relationship to confound problems alasting of forming of or divorce actual prevalence the the alienation, big-city as to ideas such service lip paying as these to form anotional of she romantic comedy; characterises return represent they a because “neo-traditional” comedies new these calls McDonald 18). (Mortimer parenting single of divorce and rates soaring Tamar crisis, Jeffers of AIDS the backdrop the against structures family romantic love traditional and embracing conservative, markedly is century romcom end at the of twentieth the 5). pointed out, has Moreover, the genre dynamic some on recent as literature this audience” (Mortimer by the experienced of pleasures the heart at the often is genre for shortcoming as a plots“[t]he of films’ the predictability the of nature formulaic Ido not sense, consider and simplicity the representations. this In national and approach cultural butinof studies terms romcoms do not from a film originate of travel-based strand about popular the my reservations that to clarify would like experiences. life-changing and of romance search in travellers short-term than to ill-fated, be rather who said be may tourists characters affecting events of irruption horrific elicited unexpected by the frisson the and atmosphere upa creepy building at geared seem be to efforts main films’ the genre, thriller of horror the supernatural and instances light rather being Indeed, concerns. As I hope to have proved by highlighting the films’ reliance on anachronistic anachronistic on reliance films’ the I hope to haveAs proved by highlighting I Ireland, rural in set To of recent films survey conclude my critical rather alien revisionist to such be to seem totally agendas However, filmmakers’ the 23 is happens in in happens is Th (Paul Quinn 1998), not analysed here because it is it is because here 1998), Quinn not analysed (Paul Father is My This the location (88), for romance” of these many 23 Sadly, this opportunity has has opportunity Sadly, this

“the “the -

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 131 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 132 Hopper , Nathan and Daniel P. Daniel Moynihan and , Nathan Glazer Feifer Mahon Holohan Barton Boland Clarke Doyle Adams people’sold for world, to anti-modern satisfy nostalgia. craving amere commodity an emblemtheas of used is where Ireland analysed, have I films by the missed been Curran Davenport strengthened sense of personal identity. of personal sense strengthened a with America in life his to return to character the allows ancestry his about finding Ireland, rural of ethos constrictive by the precipitated lover’s her suicide, following woman, young pregnant ried unmar 1930s an the as in mother’s emigration of his circumstances tragic the learns teacher the Ireland in Although study. the present of object films the than Irish-American of an Ireland to trip the to approach andprofound original more amuch offers film the mother’s past, of his search in McDonald Received for Publication: September 14, 2013; Acceptance for Publication: March 29, 2014. March Publication: for 14, 2013; September Acceptance Publication: for Received Going Places Going , Maxine. , Kilian. “Simpsons Show Green Credentials with Patrick’s Day Visit to Ireland.” Irish Ireland.” Visit to Day Times Patrick’s with Credentials Show Green “Simpsons , Kilian. Castles of Ireland: Some Fortress Histories and Legends and Histories Fortress Some Ireland: of Castles Louisa. , Constance , Screening Irish America. Representing Irish-America in Film and Television and Film in Irish-America Representing America. Irish Screening Ed. , Ruth, The Tourist Gaze: Travellers to Ireland 1800-2000 to Ireland Gaze: The Travellers , Glenn. Tourist , Rosita. “Ireland: Land of Sheep, Music and Castles, Castles, Castles,” Irish Times Castles,” Castles, Castles, and Music of Sheep, Land “Ireland: , Rosita. , Donald. “Enough, Begorrah!” Irish Times Begorrah!” “Enough, , Donald. Hibernian Green on the Silver Screen: The Irish and American Movies American and Irish The Screen: Silver the on Green Hibernian , Joseph. The Yellow Book The Yellow Derek. Academic, 2010. Academic, Macmillan, 1985.Macmillan, 1. 2009): (24 February Italians, and Irish of New York City New of Irish and Italians, 1904. irishtimes.com/culture/ireland-land-of-sheep-music-and-castles-castles-castles-1.588433 4 Feb 2014. Web < 2009. Academic, Irish film/enough-begorrah-1.624066 www.irishtimes.com/premium/loginpage?destination=http://www.irishtimes.com/culture/ 0482&sr=8-1%20-%20#reader_1741792142 Lonely-Planet-Ireland-Country-Travel/dp/1741792142/ref=sr_1_1?ie=UTF8&qid=130355 Lonely Planet Ireland Greenwood, 1989. , Conn. Cinema on, Conn. the Periphery: Contemporary Irish and Spanish Cinema Le Nevez Le , Fionn, Catherine , Tamar Jeffers. Jeffers. , Tamar http://www.irishtimes.com/premium/loginpage?destination=http://www. Romantic Comedy: Boy Meets Girl Meets Genre Meets Girl Meets Boy Comedy: Romantic : The Way of the Tourist from Imperial Rome to the Present Day Present the to Rome Imperial from the The of Way Tourist . Lonely Planet, 2010. Planet, 4Feb 2014.. Lonely Web < Loughcrew: The Gallery, Gallery, 1997 The . Loughcrew: WORKS CITED WORKS , Etain O’Carrol , Etain >. . Beyond the Melting Pot Melting the Beyond . Cambridge: MIT Press, 1963. Press, MIT . Cambridge: (February 19, 2010). (February 4Feb 2014. Web < >. , Ryan Ver Berkmoes, and Neil Wilson Neil and Ver Berkmoes, , Ryan : . Cork UP,. Cork 2001. The Negroes, Puerto Ricans, Jews, Jews, Ricans, Puerto Negroes, The . . London: Wallflower, 2007. Wallflower, . London: http://www.amazon.com/ . London: E. Stock, Stock, E. . London: . Dublin: Irish Irish . Dublin: (July 1, 2011). (July . New York:. New . London: London: . .

Dublin: Dublin: http:// >. - .

Rubinfel Rowe Mortimer Negra Rains Pramaggiore, Maria. Jordan Neil O’Connell New the in Imaginary (Inter)National the and Whiteness Tourism: Heritage and/as —— “Romance US Recent in Irish Television.” Studies Review Irishness Primitives: New —— “The —— (ed.).in Us Irish The Rockett McLoone , Kathleen. “Comedy, Melodrama and Gender: Theorizing the Genres of Laughter.” Classical of Genres the Theorizing Gender: and “Comedy, Melodrama , Kathleen. The Irish-American in Popular Culture 1945- Culture Popular in Irish-American The Stephanie. , , Diane. “Fantasy, Celebrity and ‘Family Values’ in High-End and Special Event Tourism in Special and High-End Values’ in ‘Family and Celebrity “Fantasy, , Diane. , Kevin. “The Irish Migrant in CreativeFilm.” The Migrant Migrant Irish “The , Kevin. Hollywood Comedy Praeger, 2001. 39-62. 1995. Ireland.” health/hooked-on-irish-men-1.642002 www.irishtimes.com/premium/loginpage?destination=http://www.irishtimes.com/news/ and Washington: Leicester U.P., Leicester 1997. Washington: and 170-191. Dublin: Irish Academic, 2008. Academic, Irish Dublin: Soundscapes Landscapes, Cityscapes, in Ireland. Matthew Tinkcom. London: Routledge, 2001. 82-97. Routledge, London: Tinkcom. Matthew Woman’s Film”, Popular Cinema and Keyframes: Cultural Studies 229-239. 2007. 141-156. Macmillan, Palgrave Basingstoke: Sullivan. Moynagh and West port: West port: Comedy. Romantic Hollywood the and Genre, Gender, Bond: to D. Bound , Mark Film, Media and Popular Culture Culture Popular and West.” Media Irish Film, the and Landscapes “Haunted , Martin. , Claire. (24 August 2010). Men.” (24 August Times 4 Feb 2014. on Irish Irish “Hooked Web, Brian. < Irish Postmodernisms and Popular Culture andPopular Irish Postmodernisms Romantic Comedy . Durham: Duke UP, Duke 2006. . Durham: . Kristine Brunovska Karnick and Henry Jenkins. London: Routledge, Routledge, London: Jenkins. Henry and Karnick Brunovska . Kristine . Urbana: U of Illinois P, 2008. Uof Illinois . Urbana: London: Routledge, 2010: 79-95. Routledge, . London: >. . Ed. Graeme Harper and Jonathan Rayner. Rayner. Jonathan and Harper Graeme . Ed. . Ed. Wanda Balzano, Anne Mulhall, Mulhall, Anne Balzano, Wanda . Ed. 2000. Dublin: Irish Academic, 2007. Academic, Irish Dublin: 2000. . Ed. Patrick O’Sullivan. London London O’Sullivan. Patrick . Ed. . Ed. Amy Villarejo and and Villarejo Amy . Ed. 9.2 (2001): http://

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 133 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 134 long-time boyfriend, a successful heart surgeon, but he still hasn’t proposed to her after hasn’t to her after but proposed he still surgeon, heart asuccessful boyfriend, long-time Tucker USA/IR) Year 2009 (Anand Leap to Daniel. married morning next up the wakes and binge on adrinking goes woman career Audrey, neurotic alonely and performed. are weddings fake which in festival in a local themselves find clients, divorcing of their property of the value the to assess to Ireland travelled also have who lawyers, the and castle, atthe couple reconcile Eventually, castle”. the ... afairytale on earth place magical “the most for is its marriage the from to keep wants each one of property piece the Ireland, in acastle couple own who American acelebrity involving case opposite of adivorce sides UK/IR) 2004 (Peter Howitt of Attraction Laws trust. and ship, community, friend about town’s learns the and love in with colleen only he falls Still, planet. another from alien an he seems ethnicity and country another from arepresentative more than since clashes cultural little provides African-American of the arrival the and characters ish cartoon of full is film The simpletons. of drunken brawling into the degenerated spirit has Irish fighting the of Ballywood town the CD, in arap and from whole text the cribbed has Jimmy “must author fact, Irish”. But, in the be that comment approving the priest local the from elicits which fight” fight fight then gotta you“If line: it’s want, youfreedom fiery the with ending apoem with competition the wins enters and girlfriend, psychotic his from as well as Angeles, Los in life of his squalor and bustle the from away to get wants who Jam, Jimmy swindler Broke African-American prize. grand the pub, beloved as Finnegan’s, their offer They Land’. ‘Leprechaun called park amusement it into aJapanese-sponsored turn to plans Hailstock’s Lord money to prevent English hoping to raise contest apoetry holds USA/UK) 2006 Eyres Jam (John Irish on soldier border patrol). agay of gardaí, (e.g. couple asilly types of eccentric of astring antics way, the plot aloose and with banal atotally in them it repeats just of Irishness, representations clichéd other to revise parody the developing of instead but Hinde’s of John postcards, distortions amusing offers film the level, visual At a wedding. imminent his off he calls and romance their rekindle Sinead and border. over from the Eventually, Ben ahearse in guns and booze cover-up for smuggling a is fact in which parlour-cum-pub afuneral someone runs who with now living is Sinead Ben’s that find girlfriend former they Ireland, in Once youth. their in time agreat had had they where town seaside to aDonegal night latter’s for the stag solicitorbored Ben—going and Harry celebrity TV turned archaeologist successful Welsh brothers—womanising two IR/UK) (Tom 2005 Enough Long Collins Dead A smart and over-organized young Bostonian named Anna intents to marry her to marry intents Anna named Bostonian young over-organized and A smart on themselves find Audrey and Woods Rafferty Daniel York New lawyers Rival town) which coast Irish (a supposedly people of Ballywood the about A farce about agencies film and national Irish Welsh Irish/Northern the by backed A film (Synopses of the films in alphabetical order)alphabetical in (Synopses of films the APPENDIX 1 APPENDIX

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REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 135 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 136 that includes Celtic music, 70s rock standards and rap. and standards 70s rock music, Celtic includes that and a boots) soundtrack hip in stream ina fly-fishing nuns two like characters eccentric and films, other of the ubiquitous castle the than rather remnants prehistoric (dotted with scenery natural spiritually-enhancing and of verdant shots picturesque with levels, aural and visual atthe and, girl alocal with romance his through thematically, resolved: happily is which feud old family to an simply reduced is population local the and visitor young the between differences cultural of clash the from arising conflict possible The issue. the address not does film the man, black ayoung visitor Irish-American the of making premise disruptive the introducing Tony,brother After relative. boy’s now the is who remaining only of her and community island of the ethos conservative the from away running before, years twenty to America mother, emigrated of his had who death the after Dora of Inis island 1998 Brady (Eugene IR) Nephew The of Ireland. west the in asimple lifestyle and family to his to retreat bankrupt), morally as (that he sees public relations in acareer and Chad, a young Afro-American-Irish orphan boy travels from New York New from boy travels to the orphan Afro-American-Irish ayoung Chad, Laws of Attraction The Matchmaker The Matchmaker The Nephew The Irish Jam Irish Arrival in (rural) Ireland (rural) in Arrival APPENDIX 2 APPENDIX ( Stills )

Laws of Attraction The Matchmaker The Nephew The High Spirits Irish Jam Irish

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 137 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 138 Dead Long Enough P.S. I Love You ILove P.S. Leap Year Leap Year Dead Long Enough Nothing Personal Nothing P.S. I Love You ILove P.S. Leap Year Laws of Attraction The Matchmaker P.S. I Love You ILove P.S. The Nephew The Leap Year Romantic Walks in the Countryside the in Walks Romantic Drinking and Dancing at the Pub the at Dancing and Drinking Laws of Attraction Nothing Personal Nothing The Matchmaker Leap Year Irish Jam Irish

REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 139 REVISTA CANARIA DE ESTUDIOS INGLESES, 68; 2014, PP. 119-140 140 Dead Long Enough Enough Long Dead Leap Year Castles and Ruins and Castles Laws of Attraction High Spirits