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Home , Donal McLaughlin, Duke (surname), Film Ireland, Gaelicisation, John Waters (columnist), Lad culture

Notes

1 Introduction

1. The mythopoetic movement, inspired by Jungian psychoanalysis and, in particular, by Robert Bly’s bestselling book Iron John, first published in 1990, is preoccupied with the notion of an essential, pre- modern masculinity. In this sense it is not unlike a male variant of certain strands of eco- , which emphasise women’s reproductive biology and connection to nature as paths to empowerment. scholars have been critical of the contradic- tions inherent in consciously striving to adopt a ‘natural’ or ‘essential’ gender identity from a highly idealised, mythical past.

2 Gender and Nation: the of Irish Manhood

1. According to Rockett, the Irish film censors banned 3,000 films and cut an additional 10,000 in the period from 1920–70. 2. Bourke (1998) argues that the use of the bayonet was wildly exaggerated because it had importance as a morale- building symbol, representing old- fashioned, individual combat – much fantasised in accounts of combat past – compared with sniping, which was regarded by many soldiers with hostility as unmanly and impersonal. 3. This advertisement (‘Is it for the glamour?’) shows the GAA player as grounded, community- based, at one with nature and untainted by celebrity or money. 4. See John Waters (2000), ‘Big Mac Feminism on the Education Menu’, Irish Times, 24 October and John Waters (2001), ‘Horrors of Feminised Education’, Irish Times, 27 August. 5. Emmet Oliver (2001). ‘Programme is “Totally Unsuitable”, Say Parents’, Irish Times, 21 September. 6. Anthony Clare (2000). ‘The Dying Phallus’, an extract from On Men: Masculinity in Crisis, Chatto & Windus, (2000), published in , 25 September. 7. ‘Yours is the earth and everything that’s in it, And which is more, you’ll be a man, my son.’ 8. ‘Or is it something that runs deeper? Call it DNA. Better still call it GAA.’ 9. P. J. Devlin (1935) Our Native Games. M. H. Gill & Son, , pp. 35–6, cited in Devitt (1997: 262).

3 ‘Instruments of God’s Will’: Masculinity in Early Irish Film

1. Bogland features the lines, ‘We have no prairies / To slice a big sun at evening…’ and ‘Our pioneers keep striking / Inwards and downwards / Every layer they strip / Seems camped on before.’

214 Notes 215

2. O’Donovan’s films Rafferty’s Rise and When Love Came to Gavin Burke were released in the same year.

4 Institutional Boys: Adolescent Masculinity and Coming of Age in ’s ‘Architecture of Containment’

1. James Smith (2001; 2007) refers to Ireland’s orphanages, reformatory schools and asylums as part of an ‘architecture of containment’. 2. Over 90 per cent of national (primary) schools in Ireland remain under Catholic patronage today. 3. This list is by no means exhaustive. Additional films underpinned by this theme include 48 Angels (2007), All Things Bright and Beautiful (1994), Into the West (1992), Kisses (2008), Mickybo and Me (2004), Moondance (1995), My Friend Joe (1996), (1998), Pete’s Meteor (1998), Song For A Raggy Boy (2003), Summer of the Flying Saucer (2008), The Lost Hour (1982), The War of the Buttons (1994), The Last of the High Kings (1996), Korea (1995), The Run of the Country (1995), Draiocht (1996), The Miracle (1991), Disco Pigs (2001) and Swansong: the Story of Occi Byrne (2009). 4. In McLoone’s child- nation analysis, Ireland is understood as vulnerable, traumatised and caught in a sort of temporal schizophrenia between tradi- tion and modernity, played out through Francie’s own paranoid state and oscillation between fixations on traditional Ireland (the thatch cottage, the Virgin Mary) and American and British popular culture (The Fugitive, Algernon Carruthers). 5. This line comes from a verse in Sinead O’Connor’s song Famine (1994) – ‘And this is what I think is still hurting me / See we’re like a child that’s been battered / Has to drive itself out of its head because it’s frightened / Still feels all the painful feelings / But they lose contact with the memory / And this leads to massive self- destruction / , drug addiction’. 6. It is difficult to argue with allegorical interpretations, since theorists often claim that filmmakers operate subconsciously. This construction of the film- maker is conducive with Ezra Pound’s (1934: 65) description of artists as ‘the antennae of the race’, operating intuitively and unconsciously of the desires and anxieties that motivate them. 7. E- mail interview with Martin Duffy, 24 September 2010. 8. All Things Bright and Beautiful (1994) is something of an exception in its more nostalgic portrayal of Irish male childhood. 9. See, for example, Beckett and Denborough, 1995; Mac an Ghaill, 1994; Blumenfeld and Lindop, 1996; Epstein and Johnson, 1994, 1998; Gilbert and Gilbert, 1998. 10. Emmet Oliver (2001) ‘Programme is “Totally Unsuitable”, Say Parents’, Irish Times, 21 September. 11. John Waters (2001) ‘Horrors of Feminised Education’, Irish Times, 27 August. 12. O’Brien, Breda (2000) ‘Design of Programme Intrinsically Flawed’, Irish Times, 14 October. 13. Brendan Glacken (2000) ‘The War Between Men and Women’, Irish Times, 16 October, p. 16. 216 Notes

14. Seán Flynn (2011) ‘School Transfers “Cannot Be Rushed”’, Irish Times, 6 April. 15. Fintan O’Toole (2010) ‘The Truth Is That Child Abuse and Cover- Up Are Not Primarily About Religion or Sex. They Are About Power’, Irish Times, 17 April. 16. To this day, the state is unable to furnish adequate records on children who have died in state care. 17. The Commission heard evidence covering the period from 1914 to the present but most of its work was concerned with the period from the early 1930s to the early 1970s. ‘More than 1,700 men and women gave evidence of the abuse they suffered as children in institutions, with over half reporting . Accounts of abuse given in relation to 216 institutions are detailed in the report, which runs to nearly 3,000 pages. More than 800 priests, brothers, nuns and lay people were implicated.’ (Irish Times, 21 May 2009, ‘Systematic, Endemic Abuse in State Institutions Laid Bare’). 18. Interview with Cathal Black, Irish Film Institute, Monday 4 October 2010. 19. Interview with Kevin Liddy, October 2011. 20. Cú Chulainn also killed his son, albeit accidentally. 21. McLaverty cited in Maev Kennedy (1985) ‘Lambs to the Slaughter’, , 28th May. 22. Ibid. 23. The cumulative US box office according to Variety is $1,963,654. 24. Extract from Mary Robinson’s inaugural speech, cited in K. Donovan, A. N. Jeffares and B. Kennelly (eds) (1994) Ireland’s Women: Writings Past and Present. London: Kyle Cathie Ltd, pp. 253–5. 25. Richard Kearney (1997) Postnationalist Ireland: Politics, Culture, Philosophy. London: Routledge, cited in Smith (2001), p. 115. 26. Alan Riding (1998) ‘Challenging Ireland’s Demons With a Laugh’, New York Times, 29 March. 27. Ibid. 28. Dave Karger (1998) ‘ Gets his Irish Up: an Interview with the Man Behind The Butcher Boy’, Entertainment Weekly, 24 April. 29. The Report is also highly critical of the Department of Education’s role in institutional abuse. It states, ‘The deferential and submissive attitude of the Department of Education towards the congregations compromised its ability to carry out its statutory duty of inspection.’ 30. Interview by Jett Loe with Conor McDermottroe, 25th LA Irish Film Festival, 1 October 2010 [http://thefilmtalk.com/blog/irish- film- podcast- movie- reviews- interviews- swansong- occi- byrne-conor-mcdermottroe/]. 31. E- mail interview with Martin Duffy, 11 October 2011. 32. ‘Taking On the Exam System and Winning’, Irish Times, Education and Living supplement, p. 50, 21 April 1998. (Production Notes, Tiernan McBride Library, Irish Film Institute). 33. Production Notes, Tiernan McBride Library, Irish Film Institute. 34. ‘Sporting Rebel: Paddy Woodworth Previews a Striking New Film with a Hurling Backdrop’, Sunday Press, 8 February 1987. 35. Michael Cunningham (1987), ‘Visions of a Vibrant Film Industry’, Irish Times, 22 July. 36. James O’Higgins-Norman’s (2008) research shows that the number of teachers who were aware of instances of (verbal) homophobic bullying was Notes 217

higher in boys’ same- sex schools (94 per cent) than in co- educational (82 per cent) or girls’ single- sex girls’ schools (55 per cent). In relation to instances of physical bullying as a result of students’ perceptions of homosexuality, the percentage of teachers aware of this was also higher in boys’ single- sex schools (25 per cent) than in co- educational (17 per cent) schools.

5 Family Guys: Detonating the Irish Nuclear Family

1. Enda Kenny, address to Dáil Eireann, the Irish Parliament, 20 July 2011. 2. Louise Reseingrave (2011) ‘Clerical Sex Abuse Involves “Tiny” Minority’, Irish Times, 3 September. 3. ‘“Relentless Focus” on Clerical Abuse Obscuring Real Problem’, ciNews, 14 September 2011, http://www.cinews.ie/article.php?artid=9007, accessed 27 September 2011. 4. cited in Ruth Barton (2002), Jim Sheridan: Framing the Nation. Dublin: Liffey Press, p. 144. 5. A remarkably similar critique of urban, middle- class masculinity emerges in Marina Carr’s play Marble (2009), set at the height of the Celtic Tiger era, but has not been seen again in Irish cinema. 6. E- mail interview with Martin Duffy, 24 September 2010. 7. Ibid. 8. Interview with Kevin Liddy, October 2011. 9. E- mail interview with Martin Duffy, 24 September 2010. 10. Ibid. 11. Ibid. 12. See, for example, John Waters (1997) ‘Unmarried Fathers’ Rights are Ignored’, Irish Times, 1 July; John Waters (1999) ‘Legal Abuse of Fathers’ Rights Not Even Noticed’, Irish Times, 7 September; John Waters (2003) ‘ Parental Rights Are a Gender Issue’, Irish Times, 22 September. 13. AMEN is a voluntary support service for male victims of domestic abuse, which was founded by Mary T. Cleary in 1997. 14. Maureen Gaffney (2004) ‘Inside the Heads of a Generation Living Without Constraints’, Irish Times, 28 February. 15. Ibid. 16. Michael Dwyer (1993) ‘The Shooting of Gerry Conlon’, Irish Times, 8 May, p. 1. 17. Ibid. 18. Screened on TG4 on 17 January 2012. 19. Barton (2011a) points out that, in films such as Pavee Lackeen, Ondine and Kisses, the young adolescents seek out alternative parental figures in Ireland’s new immigrants, presumably signalling a break with tradition and an embracing of the new Ireland, despite the obvious risk this runs of posit- ing the Ethnic Other as a source of spiritual salvation for a jaded western society. 20. See John Waters (2001) ‘Why Fathers Become our Scapegoats’, Irish Times, 3 September; John Waters (2001) ‘Indictment of our Justice System’, Irish Times, 30 July; John Waters (2001) ‘The Nookie Principle Has a Great Deal to Answer For’, Irish Times, 16 October. 218 Notes

21. The notion of women’s superior ability to nurture young children is viewed by feminists as a key myth in patriarchy’s project of gender dimorphism. Like Kraemer (1995) and Samuels (1995), most feminists argue that ‘the male’s competence in and contribution to, child- rearing is potentially very similar to the female’s’ (Kramer, 1995). Most feminists argue, therefore, that until the ideal ‘new father’ becomes a reality – through his increased involvement in carework/homemaking, lobbying for paternity leave and crèche facilities in the workplace and elaboration of constructive discourses of fatherhood – it is unlikely that social attitudes will change sufficiently to modify the law. 22. Interview with Margaret Corkery at the Karlovy Vary International Film Festival in the Czech Republic, July 2009, at which Eamon won Best Film, Forum of Independents [http://www.youtube.com/watch?v=Roc6MetKnFA, accessed 26 October 2011]. 23. Interview with Margaret Corkery for Indiewire. 24. See Frank McNally (2008) ‘An Irishman’s Diary’, Irish Times, 25 June, p. 15, Ailish Connelly (2006) ‘Accessorise with a Child in New Ireland’, Irish Times, 13 November and Ailish Connelly (2006) ‘The Celtic Kittens Are in Control’, Irish Times, 11 December, p. 16. 25. Ailish Connelly (2006) ‘The Celtic Kittens Are in Control’, Irish Times, 11 December, p. 16. 26. Michael Patrick Gillespie, ‘The Direction of Irish Cinema’, presentation made at the Film Festival, 13 November 2010.

6 It’s Good to Talk? Language, Loquaciousness and Silence among Irish Cinema’s Men in Crisis

1. Whereas novelist Chuck Palahniuk’s take on the rugged individualist or wild man of Fight Club appears to express genuine nostalgia for a bygone masculinity, director Fincher’s choice of the spectacularly beautiful, designer- dishevelled Brad Pitt to represent the repressed Other of the self appears to signal a deep sense of irony about the pseudo- essentialism of the mythic men’s movement, whose desire to reconstruct male identity based in ancient mythology is arguably as self- conscious and as self- reflexive as any postmodern bricolage of the self. 2. See Hanna Rosin, ‘The End of Men’ in Atlantic Magazine, July/August 2010 [http:// www.theatlantic.com/magazine/archive/2010/07/the- end- of-men/8135/]. 3. http://www.youtube.com/watch?v=DTNBmFveq2U 4. Bianca Luykx, ‘At Home With Ross O’Carroll-Kelly’, VIP Magazine, January 2006. 5. Kevin Massey (2011) ‘Paul Howard – Ross O’Carroll-Kelly’, Writing.ie, http:// writing.ie/meet- the-authors/generalfiction/363- paul- howard- ross- ocarroll- kelly.html, accessed 14 December 2011. 6. Ian McShane (2003) ‘A Media- Literate and Savvy Generation’, Irish Times, 20 September, p. 7. 7. Fintan O’Toole (2003), ‘Weekend Review’, Irish Times, p. 2. 8. In response to the question, ‘Do boys and girls have the same or different problems?’, typical comments included, ‘Guys have trouble talking about problems’, ‘We prefer to bottle it up inside until we go insane’, ‘Not really but men tend to act as if they haven’t got problems so you may think men Notes 219

do not have problems’, ‘Yes, we can’t express ourselves as easily. We don’t express ourselves easily because we are afraid our friends will find out and we will be sneered.’ ‘Yes they have to act “hard” in front of other fellas’ and ‘Boys have to act hard and drink to show off‘(Ging, 2005). 9. See, for example Frederick Broden (2011) ‘Dead Suit Walking: If This Isn’t the , It Is the Great Humbling. Can Manhood Survive the Lost Decade?’, Newsweek, 17 April and Louise Peacock (2011) ‘Women Do Better Than Men as “Mancession” Hits’, The Telegraph, 14 December. 10. Conn Holohan, Interview with Lenny Abrahamson. Estudios Irlandeses , Number 3, 2008, pp. 161–5 http://www.estudiosirlandeses.org/Issue3/Issue3Pdfs/ pdfConnHolohan.pdf [accessed 11 January 2012]. 11. E- mail interview with Declan Recks, 21 April 2011. 12. E- mail interview with Declan Recks, 21 April 2011. 13. E- mail interview with Declan Recks, 21 April 2011. 14. Ibid. 15. In post- Enlightenment European culture, men have traditionally been associated with the written word, whereas oral culture has been associated with women. In colonial Ireland, however, oral culture was the only way for both men and women to preserve their language and stories. 16. ‘The Guard: Emmet O’Brien Talks to Brendan Gleeson and Writer/Director John Michael McDonagh About Their Surprising New Film’, Film Ireland, Issue 138, Autumn 2011, p. 10. 17. Ibid., p. 11. 18. References to irony, ambiguity and ‘tongue- in-cheek’ humour are increas- ingly evident in the promotional material and interviews which surround contemporary ‘laddish’ films. According to Shimmy Marcus, for example, ‘If you take the film [Headrush] too seriously, you miss the point of it. It needs to be seen as tongue-in- cheek (Marcus cited in McCarthy, 2004).’ This mirrors the kind of discourse that surrounded Guy Richie’s Lock Stock and Two Smoking Barrels, for example when Steven Mackintosh, who played Winston, claimed, ‘it does contain all the elements of gritty reality, but there is a great sense of irony about the whole thing (Mackintosh cited in Chibnall, 2001: 2).’ 19. The Guard took a4.13m at the Irish box office. 20. Old Mister Brennan is a fictional character in Irish radio adverts for Brennan’s Bread, whose old- school, working- class Dublin wit is based on his no- nonsense reactions to the whims of modernity. 21. For a more detailed account of how biodeterminist accounts of gender are related to post- feminism, neoliberal capitalism and ‘brain science’, see Ging, Debbie (2009) ‘All Consuming Images: New Gender Formations in Post- Celtic- Tiger Ireland’ in Ging, D., Cronin, M. and Kirby, P. (eds) Transforming Ireland: Challenges, Critiques, Resources, Manchester University Press. 22. The village fool in Ireland is often referred to as ‘a person of God’.

7 Troubled Bodies, Troubled Minds: Republicanism, Bromance and ‘House-Training’ the ‘Men of Violence’

1. McKeown (1994) ‘Republican Men: Life Underneath the Stereotypes’, Irish Reporter 14, (special issue on ‘The Irish Male’), p. 10. 220 Notes

2. Cited in Ros Coward (1999), Sacred Cows, p. 82. 3. A notable exception is Fidelma Farley’s (2001) ‘In the Name of the Family: Masculinity and Fatherhood in Contemporary Northern Irish Films’, Irish Studies Review. 4. Kimmel, Michael (2002) ‘Gender, Class, and Terrorism’ Chronicle Review, 8 February [http://chronicle.com/free/v48/i22/22b01101.htm]. 5. Richard Schickel, ‘Want a Revolution?’ Time, 14 October 2006, p. 86, cited in Morgan (1998). 6. Morgan (1998) points out that in magazine interviews, Neeson is frequently photographed in the pose of Rodin’s The Thinker, is often described as the ‘thinking woman’s’ sex symbol, and is generally characterised as vulnerable, feminised and in touch with women and children. 7. By post- feminist here I mean simply ‘after-feminism’ or ‘having experienced feminism’ as opposed to a specific and currently dominant gender- political stance that repudiates, hijacks and re- appropriates feminism for primarily commercial ends. 8. Tony Luraschi’s American film The Outsider (1980) could be added to this list. It tells the story of a young Vietnam War veteran from Detroit who joins the IRA on the basis of stories told to him by his Irish grandfather, who fought in the War of Independence. 9. Lehner points out that the photograph was, in fact, shot in South Africa, since does not have a western coastline. 10. Little confesses, ‘I didn’t kill him because you Catholics killed one of us. I killed him because I wanted to walk into the pub on that Saturday night as a man, walk in ten foot tall and hear the applause of the only people who mattered to me then. And I heard it. And it was good. That’s why I put those three bullets into your brother’s head.’ Script of Five Minutes of Heaven, p. 92 cited in Lehner (2011: 71). 11. Interview with Pat Murphy by Channel 4, Ireland: the Silent Voices. 12. The only exception to this rule is the scene in which Frieda’s mother introduces Mrs. Craig. 13. Steve McQueen, Hunger production notes, p. 3.

8 New Lads or ‘Protest Masculinities’? Underclass, Criminal and Socially Marginalised Men in the Films of the 1990s and 2000s

1. Dead Bodies (2003) and Freeze Frame (2004) can also be loosely associated with this ‘cycle’, given their preoccupation with crime, while the comedies Spin the Bottle (2002) and The Actors (2003) tend toward parody of underclass and gangster identities. I exclude Adam and Paul (2004) from this cycle as, although it addresses male social exclusion, it does so in an entirely different way than any of the films listed above and its influences are distinctly vaudeville and European art- house, rather than British or American. 2. O’Donohoe describes the boundaries between various media formats as increasingly ‘leaky’ and attributes this phenomenon to ‘increasing institu- tional ties between advertising, commercial media, and mass entertainment’ (1997 pp. 257–8, cited in Messner and Montez de Oca, (2005), p. 1897). Notes 221

3. Tarr (2004: 110) describes the Beur films as ‘films made by and/or featur- ing second- generation young people of Maghrebi or North African origin in ’ and the banlieue films as ‘films set in multi- ethnic working- class estates on the urban periphery’. 4. This phrase was coined by a reviewer of Crushproof on the Internet Movie Database website (http://www.imdb.com/title/tt0177668/plotsummary), accessed 21 December 2005. 5. Spicer (2001) uses Richard Dyer’s (1993) distinction between a stereotype (a rigid and reductive label which serves to stigmatise the group it describes) and a type (a more fluid, varied description which can perform a range of narrative functions). Spicer’s ‘cultural types’ include both social types specific to an historical moment and archetypes, which may recur over a longer time period, as well as types involving overlap between the two. He describes types as ‘overlapping and competing constructions which struggle for hegemony, the version of masculinity that is most desirable or widely acceptable’ (ibid. p. 2). 6. See Bruce Nussbaum, ‘Real Masters of the Universe’, Business Week, 1 October 2001 (http://www.businessweek.com/magazine/content/01_40/b3751740. htm), accessed 12 December 2005, and Verlyn Klinkenborg in Magazine, cited in Freeman, J. B. ‘Working- Class Heroes’, The Nation, 12 November 2001 (http://www.thenation.com/doc/20011112/freeman), accessed 12 December 2005. 7. The Carlsberg ‘Don’t do …’ ads are enactments of a series of male fantasies about the ideal nightclub (filled with beautiful women who want action and have no interest in small talk), the ideal flat (replete with female flatmates who insist on cooking and love football), the ideal holiday (where the apartments overlook a building site full of female construction workers wearing tight, revealing jeans) and the ideal job (promotion to global staff entertainment manager). 8. ‘Twoccing’ refers to car- theft or ‘taking without owner’s consent’. 9. See http://www.headrushthemovie.com/press_clips.php, Gerry McCarthy, ‘Vice of a New Generation: Ireland’s answer to Trainspotting is also Shimmy Marcus’ answer to Hollywood’, (Culture supplement), February 2004 and Michael Dywer, ‘That’s a Wrap’, The Ticket, The Irish Times, 21 August 2003, p. 2. 10. The quote is paraphrased from a translation of Rimbaud’s cycle of prose poems entitled A Season in Hell, which he wrote at the age of 19. The original text in French reads, ‘Maintenant, je suis maudit, j’ai horreur de la patrie. Le meilleur, c’est un sommeil bien ivre, sur la grève.’ 11. Chibnall (2001) distinguishes between ‘gangster heavy’, which he describes as a search for ‘unvarnished authenticity’, and ‘gangster light’, which he claims is characterised by distancing, irony, self- conscious intertextual borrowings and an awareness of the artifice of film- making. 12. Interview with Orla Walsh, 8 March 2012.

9 Cool Hibernia: ‘New Men’, Metrosexuals, Celtic Soul and Queer Fellas

1. The Celtic Tiger period was a time of unprecedented economic growth in Ireland, starting in the early 1990s and ending with the crash of the property 222 Notes

market in 2008. It was triggered by the dot.com explosion, corporate- friendly legislation and low tax rates. 2. According to Lance Pettitt, ‘It is significant that the energetic film- making conjuncture of the early Nineties coincided with the relative success of polit- ical movements to secure decriminalization and a program of equal rights for homosexuals in the Republic (1993) and, in Northern Ireland, a lowering of the age of consent for gay sex (1994) to eighteen (although the latter was resisted, unsuccessfully, by Unionist MPs in the British Parliament)’, ‘A Construction Site Queered: “Gay” Images in New Irish Cinema’, Cineaste, 24 February 1999, pp. 61–4. 3. See also Michael Flocker (2003) The Metrosexual Guide to Style: a Handbook for the Modern Man. 4. Chad in The Nephew is a skilled artist, Brendan in When Brendan Met Trudy (1999) is a schoolteacher, choir baritone and movie buff, Tom in Goldfish Memory (2002) is a lecturer in German literature and romantic poet, while in Cowboys and Angels (2003), Shane is a fashion student and Vincent is a civil servant who turns to modelling. In Wild About Harry, Harry is a chef, Eamonn Manley in The Most Fertile Man in Ireland works in a dating agency and the male protagonist of Once (not named), played by real- life member of The Frames Glen Hansard, is a musician and busker. Finally, November Afternoon’s Robert is a jazz aficionado, while Miles Butler in Ailsa is a calligrapher who writes up genealogical documents. 5. The late 1990s and early 2000s were the ‘golden era’ of this genre with films such as American Pie (1999), There’s Something About Mary (1998), Dude, Where’s My Car? (2000), Loser (2000), Road Trip (2000), Tomcats (2001), Say It Isn’t So (2001), Shallow Hal (2001), American Pie 2 (2001), Saving Silverman (2001) and Stuck on You (2003) making huge returns at the box office. 6. Film Quarterly, Spring 1993 46 (3), pp. 2–8. 7. Cathal Black, interview with the author in the Irish Film Institute, 4 October 2010. 8. Walsh (ibid.) argues that in Song for a Raggy Boy (2003), ‘homosexuality, paedophilia, violence and religious corruption intersect and stand in opposition to the rugged masculinity of lay teacher William Franklin (Aidan Quinn) who promotes a new version of straight, secular homosociality associated with western modernity.’ 9. This phenomenon, dubbed ‘homonationalism’, is most evident in Dutch parliamentarian Geert Wilders’ viral film Fitna, in which he claims that Islam poses a serious threat to gay rights in the . Judith Butler publicly denounced what she perceived as homonationalist tendencies in the gay community when she refused to accept the civil courage award at Berlin Gay Pride in 2010. 10. In the pilot episode, Joey says that the neighbourhood is populated primarily by ‘Black Irish’, whom he calls ‘a race of dark- haired people’ that the had failed to wipe out in Ireland. 11. O’Halloran (2008) ‘Sex Please, We’re Irish’, Film Ireland, 120 Jan/Feb, p. 5. 12. See, for example, Frank McNally (2008) ‘An Irishman’s Diary’, Irish Times, 25 June, p. 15, Ailish Connelly (2006) ‘Accessorise with a Child in New Ireland’, Irish Times, 13 November and Ailish Connelly (2006) ‘The Celtic Kittens Are In Control’, Irish Times, 11 December, p. 16. Notes 223

13. Grealy (2005). 14. Ed Madden (2011: 78) argues that Chicken’s power derives from its queering ‘of a narrative that seems, at first, to depend on hegemonic tropes of tradi- tional masculinity – aggression, repudiation of the feminine, and violence’. For Madden, Dignam’s film represents ‘a moment of queer potential’ that intervened into a highly charged historical moment of public concern about young men.

10 Conclusion: a Masculinity of ‘Transcendent’ Defeat?

1. This subtitle borrows from Ross Gibson’s (1992) claim that Australian film is characterised by a ‘tradition of transcendent failure’. 2. Connolly explores Ireland’s subaltern, migrant and feminist film cultures, demonstrating the extent to which they were informed by social develop- ments and aesthetic traditions from elsewhere, most notably avant- garde film collectives in London and the New York ‘No Wave’ scene. 3. O’Donohoe describes the boundaries between various media formats as increasing ‘leaky’, and attributes this phenomenon to ‘increasing institu- tional ties between advertising, commercial media, and mass entertainment’ (1997: 257–8, cited in Messner and Montez de Oca, 2005: 1897). 4. Mark Linehan, ‘Interview with Savage director Brendan Muldowney’ in entertainment.ie, http://entertainment.ie/Movie/feature/Interview- with- Savage- director-Brendan-Muldowney/2/863.htm, last accessed 1 May 2012. Bibliography

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2x4, 81, 86, 120, 122, 193 American cinema, 13, 205 35 Aside, 81 see also Hollywood 9/11, 131–2, 162, 196 American Dream, the, 42, 196 American frontier, the, 27, 38, 56, 94 Abbey Theatre, 46, 51, 53–4, 117 American Men’s Movement, 9, 12, 37, About Adam, 1, 3, 82, 155, 185–9 43, 93, 96, 107, 169 About a Boy, 185 And the Band Played On, 190 Abrahamson, Lenny, 34, 110–11, 116, Anderson, Benedict, 15, 22 204, 207 Angel, 131–2, 138–9 Abu Ghraib prison, 150 Angela’s Ashes, 86, 92 abuse, 16, 58, 64, 66, 102 Anglo- Irish Agreement, 49, 130 see also clerical abuse antisocial behaviour, 6, 64, 94, 159, Accelerator, 154, 157–60, 163, 166–8, 163, 167 174, 181 Anton, 132, 140 action films, 4 Araki, Gregg, 191 Actors, The, 158–9, 163, 172–4 Ardmore Studios, 51, 53 Adam and Paul, 97, 99, 102, 116, Arensberg, C. and Kimball, S., 82–3 128–9, 157, 159, 204–5 Armagh prison, 153 Adams, Gerry, 137 Arnold, Matthew, 23 Adaptation, 107 Aronson, A. and Kimmel, M., 191 addiction, 102, 119, 167 Ashe, Fidelma, 142 see also alcoholism; drugs Ask, The 114 adolescence, see adolescent masculinity Atta, Mohammed, 132 adolescent masculinity, 58–78 Attwood, Feona, 185 see also Catholicism; clerical abuse; Australia education cinema in, 5, 46, 160, 206 advertising, 23–4, 29–30, 35, 38, 52–3, masculinity in, 135 56, 110, 156, 171, 181, 184–5, Away We Go, 185 196 beer 34, 56, 110, 126, 162 Back to the Future, 92 cider 196 Bad Education, 71 After ‘68, 142–4, 152–3 Baker, S. and McLaughlin, G., 137–8 Ahern, Bertie, , 72 Bank of Ireland, 29, 35 Ailsa, 82, 105, 155, 185, 189 banlieue films, 155, 160 alcoholism, 55, 70, 86–7, 89–90, 102, see also France 112, 118–19 Barton, Ruth, 36, 83, 96, 97, 155, 205 Alien 3, 107 BBC2, 12 alien movies, 92 Beauvoir, Simone de, 12 , 205 Becker, Ron, 191, 207 Allied Irish Bank (AIB), 29, 35 Beckham, David, 39, 184 Almodóvar, Pedro, 71 Being John Malkovich, 107 AMEN, 64, 93 Belfast, 130 American Beauty, 94, 159 Bent out of Shape, 67, 77, 84, 192–3

239 240 Index

Beriss, David, 189, 190 Byrne, Darragh, 116, 207 Bersani, L. and Dutoit, U., 204–5 Byrne, Occi, 73 Beynon, John, 6, 7, 163, 171, 175, 184–5 Cahill, Martin, 158, 172–4 Biber, Katherine, 135, 160 Cal, 131–2, 138–9 Big Bow Wow, The, 194 Calvin Klein, 185 Billig, Michael, 206 Cameron, Deborah, 127 Billy Elliott, 103 , 43 Birth of a Nation, The, 46 Canning, Laura, 126 bisexuality, 120, 184 Cantwell, Graham, 77, 139 Bizarre magazine, 124 capitalism, 163, 185–6, 188 Black, Cathal, 12, 64–7, 104, 165–6, 191 Captain Boycott, 138 Black Donnellys, The, 197 Carleton, William, 48 Black Irish, 86–7, 196–8 Carlsberg, 110, 162, 171 Black and Tans, 49, 50, 53 Carney, John, 86–7, 207 Blasket Islands, 51 Carroll, Hamilton, 10, 114 blood sacrifice, 68 Casey Millions, The, 43–4 Bloody Sunday, 27 Catholicism, 12, 25–6, 31–2, 48, 56, see also Troubles, the 58–9, 62–3, 65–6, 68, 71–2, 79, Bly, Robert, 12, 93, 96, 170 81, 87–8, 118, 132, 146, 148, 165, Bogland, 39 192–3, 200 Bogwoman, 142 Catholic Secondary Schools Parents Boiler Room, 94 Association (CSPA), 33, 64 Boondock Saints, The, 196–8 see also adolescent masculinity; Boondock Saints II: All Saints Day, 197 Christian Brothers; clerical Boorman, John, 107, 121 abuse; Exploring Masculinities Boozer, Jack, 145 Programme Bourdieu, Pierre, 18, 60 celibacy, 33–4, 41–2, 64, 80 Bourke, Joanna, 23, 24, 26, 138 Celluloid Closet, The, 190 Boxer, The, 82, 95, 138, 140, 152 Celtic mysticism, 177 Boy from Mercury, The, 59, 61, 67, Celtic Soul, 182–207 75–6, 81, 85, 91–2, 186 Celtic Tiger, the, 97, 99–100, 121, boyhood, 29, 105 155, 164, 182, 193–4, 200, 206 Boyle, Danny, 154 Celticism, 31, 46–8, 62 Boyle, Jimmy, 159 Chaero, 192 Brassed Off, 94, 109, 140 Chatterjee, Partha, 25, 62 Breakfast on Pluto, 1, 67 Chibnall, Steve, 98, 157–9, 165–7, British cinema, 13, 17, 20–1, 102, 171, 174, 179, 181 171, 205 Chibnall, S. and Murphy, R., 158 see also ; see also Chicken, 109, 205 under individual film titles childbirth, 102, 141 bromance, 130–53 child- rearing, 10, 99 brotherhood, 7, 34, 50 see also children; family Buckley, Helen, 80 children, 59 Buggy, Maureen, 175, 177 child abuse, 34, 60, 71, 74, 80, 102, bullying, 33, 54, 63, 68, 73, 76–7, 192 120, 193 Burke, Stephen, 142–4 Commission to Inquire into Child Business, The, 181 Abuse, 66–7 Butcher Boy, The, 59, 67, 70–2, 86, 91–2 child neglect, 80 Index 241

emotional damage to, 11 Cowboys and Angels, 185, 187–9, 193, rape and torture of, 79 195, 207 see also childbirth; child- rearing; Crawford-Ivers, Julia, 42 clerical abuse Creeber, Glen 167 Chopper, 157 Criminal Conversation, 83 Christian Brothers, 12, 61, 65, 68–9, 72 criminals, 6, 16, 58, 122, 154–81 see also Catholicism; clerical abuse see also gangsters; hard men cinema- as- social- mirror model, 4 Croke Park, Dublin, 27 Cinema Paradiso, 92 Cronin, Mike, 22, 25, 29, 32, 39 Circus, 158 Cruiskeen Lawn, 43–4 Clare, Anthony, 33, 103, 114 Crush Proof, 90, 97, 102, 111, 154, Clarke, Donald, 169 157–9, 160, 163, 166–9, 174, 181 Clash of the Ash, 67, 75–6 Crying Game, The, 134, 144–5 Cleary, Anne, 120, 121, 154 Cú Chulainn, 69, 84–5 Cleary, Joe, 130 cultural studies, 12 Cleary, Mary T., 64, 90, 93 Curtin, A. and Linehan, D., 63 clerical abuse, 11, 12, 32–4, 64, 65, Curtis, Lewis P., 23 79–80, 103 Cusack, Michael, 27 see also abuse; children; Christian cybersex, 199, 203 Brothers; Ryan Report (2009) Closer You Get, The, 45 Dad Lad, the, 6 Cloyne Report (2011), 79–80 Dahlman, Carl, 145 Cohan and Hark, 4, 7 Dáil Eireann, 79 Colditz Man, 6 Daly, Lance, 82, 102–3, 169–70 Collins, Jim, 135, 174, 178 dance, 20–2, 25, 56 Collins, Tom, 119, 142 Darwinian theory, 131 colonialism, 14, 18, 22–8, 41, 44, 45, Davis, Thomas, 38 144 Davitt, Michael, 28 see also postcolonialism Dawn, The, 39, 45, 49–50 comedies, 145–6, 148 de Valera, Eamon, see Valera, Eamon de see also humour Dead Bodies, 158, 173, 174 Comerford, Joe, 166, 191–2 Debt Collector, The, 158–9 Comme un aimant/The Magnet, 161 democracy, 20, 27–8 Commitments, The, 178 depression, 16, 17, 33–4, 58, 63, 86, Con Houlihan, 46 105, 108, 113–15, 118, 164 Connell, R. W., 3, 4, 11, 83, 108, 114, Derrington, Maya, 115 123, 161–4, 181 Detention, 67, 77 Connelly, Ailish, 100 Devil’s Own, The, 138 Connemara Irish, 119–20 Devlin, Maurice, 181 Connolly, Fintan, 204 Devlin, P. J., 35 consumerism, 9, 29, 100, 163, 173, Dewhurst, George, 49 197 diaspora, Irish, 121, 193 contraception, 77 Die Hard, 112, 123, 169 Cooper, Tom, 49 Dignam, Barry, 109, 205 Corkery, Margaret, 99–100 Disco Pigs, 67, 105, 110, 122, 129 corporal punishment, 67, 75 discrimination, 24, 63, 123–4, 127 Country, 59, 68, 81, 86, 88–90 job, 132 Courier, The, 172 Divorcing Jack, 146–7 Coward, Rosalind, 96, 114 Doherty, Willie, 109 242 Index domestic violence, 11 ethnicity, 43, 196–7, 206–7 domestic work, 10, 62, 108, 141 exile, 16, 48, 58 Dowler, Lorraine, 135–7, 139, 142, Exploring Masculinities Programme, 144, 152–3 33, 63–4 Down the Corner, 166 Exposure, 12, 83 Downey, Colin, 100–1 Dream Kitchen, 192 Facebook, 111 drugs, 19, 98, 102, 118–20, 126, 159, Face- Off, 107, 169 163, 165–7, 178 Fairytale of New York, 197 substance abuse, 33, 34, 164 Falling Down, 94, 107, 109, 128, 159, Dublin Lesbian and Gay Film Festival, 170 193 Family, 171 Duffy, Martin, 61, 75–6, 85, 91, 104 family, 22, 26, 33–5, 40, 55, 56, 59, Duncombe, S., 180 66, 73, 138 Dwyer, Michael, 175 Irish nuclear family, 79–104 marginalisation from, 164 Eamon, 81, 97, 99, 102, 104–5, reorganisation of, 13 108, 110 see also child- rearing; children; Earle, Steve, 197 brotherhood; fatherhood; Early Frost, An, 190 motherhood , the, 49 famine, 28, 39, 45, 60, 82 Ecce Homo, 107 see also Eden, 105, 110–11, 115–18, 120, 122, Far from Heaven, 84 128 Farley, Fidelma, 82, 138, 144 education, 20, 25, 26, 29, 32, 34, 55, Farrell, Colin, 1, 175–6 59, 61–2, 67 Fast Food, 158 British public school system, 62 fatalism, 98, 100, 159, 169 Department of Education and fatherhood, 5, 7, 19, 34, 64, 66, 69, Science, Ireland, 32 80–1, 85, 86, 91–2, 105 hedge schools, 63 father–son relationships, 35, 54, Leaving Certificate exam, 68, 75–6 73–4, 81–3, 86, 88, 90, 96, 121, 138 Minister for Education, Ireland, 65, new discourses on, 96–103 75 see also family; motherhood religious, 74, 79, 82 Feldman, A., 132 sex, 63, 77, 113, 202 femininity, 21, 33, 89–90, 113, 120, Social, Personal and Health 137, 196 Education (SPHE), 32–3, 194 feminism, 1, 9, 77, 84, 97–8, 103, in Victorian Britain, 31 105, 114, 118, 128, 143, 150, 158, see also adolescent masculinity 180, 185, 195 Edwards, Tim, 156 critiques of nationalist masculinity, Ellis, Bob, 160 142–5 emigration, 42, 44, 76, 86, 121 male as victim of, 8 Enlightenment era, 96, 106 post- feminism, 6, 56, 84, 100, 114, Entourage, 127, 136 123, 131, 134, 156, 180, 194, Eppels’ Films production company, 48 203–4 ESB All- Ireland Championships, second-wave, 33, 156 29–30 Fennel, Desmond, 60 Eternal Sunshine of the Spotless Mind, Ferguson, Harry, 33–4, 64, 80 185 Ferriter, Diarmaid, 74, 187 Index 243

Festen, 81 Gann, Brad, 86–7 Fever Pitch, 185 Garage, 90, 105, 110–11, 115–16, 118, FHM magazine, 124 120, 122, 128, 204–5 Fianna Fáil, 79 gay, see homosexuality; queerness Field, The, 24, 45, 84–5, 128 Gay TV and Straight America, 191 Fielder Cook, J., 54 gaze economy, 184–5, 203 Fight Club, 9, 94, 107, 109, 112, 128, gender, 180 154, 156, 159, 163, 170, 185 ‘doing’, 4, 6 Film Company of Ireland, 46, 48 equality/inequality, 11, 13, 63, 96, film noir, 71 107 Financial Life of Poets, The, 115 ‘genderscape’, 6, 9 Fincher, David, 9, 94, 154 identity, 9 Finding Forrester, 93 ideologies of, 6 First Wave, the, 1, 12, 14, 19, 81, 83 media images of, 7 Fiske, J. and Dawson, R., 8 politics, 8, 150, 207 Five Minutes of Heaven, 138, 141–2, 152 studies/theory, 9, 10, 12, 33, 78, flashback, 51, 77 106–7 Flick, 154, 158, 163, 173, 174, 177 teaching about, 32–3 folklore, 25, 39, 94 see also women Football Factory, The, 156, 181 General, The, 154, 157–8, 172–4 For Ireland’s Sake, 42 Gentle Gunman, The, 138 Forum on Patronage and Pluralism, 65 , 32 Fottrell, Quentin, 194 gerrymandering, 132 Foucault, Michel, 17 Gerstner, David, 13, 20, 27–8, 32, 39, France, 3, 155, 160 41, 94, 134, 198 see also banlieue films Get Carter, 177 Frankenstein, myth of, 131 Get Rich or Die Tryin’, 181 Frears, Stephen, 203 Gibbons, Luke, 83, 90, 92, 131, 191 Freeze Frame, 158, 173, 174 Gibson, Ross, 135 freeze- framing, 134–5 Giddens, Anthony, 43 Frosh, S. et al., 121 Gill, Liz, 193 Fuchs, Cynthia, 134–5 Gillespie, Michael P., 104 Fugitive, The, 92 Gilligan, John, 158 Full Monty, The, 94, 102, 109, 128, Ging, Debbie, 83, 127, 142, 157, 179, 140, 184–5 181, 206 Girard, René, 133 Gabriel and Me, 102–3 Giroux, H. and Szeman, I., 181 Gaelic Athletic Association (GAA), Glacken, Brendan, 64 24–9, 31, 34–5, 38, 53, 55–6, 76 Gleeson, Brendan, 122–3, 125, 188, Gaelicism, 46 193 Gaffney, Maureen, 93, 95 Gleeson, Domhnall, 199–200 Galvin, Patrick, 72, 95 globalisation, 13, 15, 41, 114 Game, The, 107 Goldfish Memory, 82, 155, 185, 187, Gamman, L. and Marshment, M., 6 189, 193, 195, 207 Gangster No. 1, 158 Good Friday Agreement, 138, 141, 146 gangsters, 6, 84, 87, 98, 112, 133, 145, Goodbye Charlie Bright, 98, 157 155, 158, 166, 172–4, 177 Grand Theft Auto, 171 gangsterism, 37 Grealy, Emma, 204 see also criminals; hard men Great Britain, see United Kingdom 244 Index

Great Famine, the 82 Higbee, Will, 181 see also famine Higson, Andrew, 15 Green Street, 156, 181 Hill, John, 82, 131–2 Gregg, Colin, 68, 70 Hinds, Sean, 77 Greven, David, 159, 186 Hirschbiegel, Oliver, 138 Griffith, D. W., 46 His and Hers, 115 Guantanamo Bay, 150 Holden, Stephen, 187–8 Guard, The, 105, 109, 111, 122, 124–6, Hollywood, 5, 7, 9, 92–3, 107, 133, 128 135, 172 Guiltrip, 77, 84 see also American cinema; see also Guinness, 29, 34–5 under individual film titles Gulf War, 132 Holt, D. B., 197 Gurney, Peter, 139 Home Is the Hero, 51, 54–5 Guyland, 201 homelessness, 8, 74 homoeroticism, 9, 134–5 H3, 149 homonationalism, 206 Hall, Tom, 37, 199 homophobia, 60, 63, 68, 74, 120, 127, Halo Effect, The, 155, 157–8, 174 134, 145, 192–3 Handler, Kirsten, 145 homosexuality, 3, 5, 16, 33, 35, 58, Hanke, Robert, 10, 107, 195 64, 102, 137, 182–4, 189–192, Happiness, 81, 84, 203 195, 206 hard masculinity, 123, 169 hooliganism, 37 Hard Men, 158 Horrocks, Roger, 13, 78, 106, 114 hard men, 6 Horse, 59, 68, 86, 88, 90 see also criminals; gangsters How Gay Are You? 184, 195 Hardy Bucks, 37, 111, 179 How to Cheat in the Leaving Certificate, Harkin, Margo, 142 59, 67, 75 Haslam, Richard, 59–60, 190 humour, 98, 124–5, 159, 179 Haynes, John, 12–13 see also comedies Haynes, Todd, 191 Hunger, 148–9, 150–1 Hayward, Susan, 14, 41 hunger strikes, 151–3 Haywood, C. and Mac an Ghaill, M., hurling, 26, 35, 76 164 Hush a Bye Baby, 142 Haywood, Chris, 97 Hustle, 171 HBO, 127, 136 Hyde, Tom, 103 Headrush, 155, 158–9, 163, 165–6, hypermasculinity, 112, 156, 161, 177 173–9 Heaney, Seamus, 39 I Went Down, 154, 158, 174 Hearn, Jeff, 15 I’ll Sleep When I’m Dead, 158 hegemonic masculinity, 4–8, 10, 14, Idiot Box, The, 160 34, 37, 46, 63, 74, 77, 105, 107, immigrants, 119, 186–7 109, 112, 122, 132, 135, 136, imperialism, 22, 29, 62 164 impotence, 77 heroism, 37–42, 49, 52, 58, 130, 132, In America, 100 134, 160, 163 In Bruges, 105, 109, 111, 122–4, 128, heterosexuality, 33–4, 50, 63, 80, 83, 155 103, 180, 201 In the Company of Men, 77, 84, 159 Hickey, Kevin, 83 In the Name of the Father, 82, 95, Hickey, Kieran, 12, 104 138–40, 152 Index 245 incest, 74 Kaufman, Michael, 94 Indian cinema, 20 Kearney, Richard, 70 individualism, 50, 63, 78, 94, 99, 148, Keating, Nicole M., 93 155, 195, 204 Kelley, R. D. G., 179 industrialisation, 56, 94, 186 Kenny, Enda, Taoiseach, 79 Inglis, Tom, 187 Kiberd, Declan, 81 Inside I’m Dancing, 86 Kickham, Charles, 46 instinct theory, 23, 138–9 Kiernan, Kitty, 133 Intermission, 1, 105, 111, 122, 124, 127, Kimmel, Michael, 7, 94, 114, 131–2, 128, 155, 157–60, 164, 166, 173–7 164, 180, 201 intertextuality, 157 Kings, 105, 110, 115, 118–20, 122, 128 Into the West, 86, 90–2 Kipling, Rudyard, 35 IRA (Irish Republican Army), 49–50, Kiss Kiss Bang Bang, 158 130, 139, 151 Kisses, 81–2, 97, 99, 100, 102 see also republicanism, Irish Kitzinger, Jenny, 80 Iraq War, 150 Knocknagow, 1, 2, 38–9, 43, 45–50 Irish Destiny, 39, 40, 45, 48–50 Korea, 86 Irish Film Archive, 61 Korean cinema, 13 Irish Film Board, 2, 14–15, 58, 76, 182 Kosofsky- Sedgewick, Eve, 133 Irish film industry, 10, 183 Krays, The, 159 employment, 10 film directors, 18 La Classe de Neige, 81 filmmakers, 11–12, 15–16, 18, 34, La Haine, 156, 160, 167, 181 36, 41, 51, 57, 59, 61, 77–8, 104, labour, division of, 22 206–7 LaBute, Neil, 77, 203 history of, 13–14, 20–1, 57–8 Lacey, Joanne, 8 male point of view, 10–11 Lad Culture, 7, 34, 98–9, 109, 123–4, production, 10 156–8, 162, 164, 179, 180–1, 185 Irish Film Institute, 95 Lad from Old Ireland, The, 42 Irish independence, 18, 24–5, 31, Lad Wave, 155–6, 161–4, 179–81, 200 40–1, 45, 49, 133 Lamb, 59, 67–9, 72 , 20, 25, 56, 62 Land League, the, 28 Irish Literary Revival, 62 landscape, 20, 24, 27–9, 39 Irish Volunteers, 27 language, 22, 110, 111, 113, 117, 120, Iron John, 12, 170 123, 126–7 Islam, 196, 206 see also Irish language Islandman, The, 51–2, 55 Last Bus Home, The, 192–3 Last Days in Dublin, 111, 155, 157, Jacobean tragedy, 174 159, 163, 166, 169–71 Jeffords, Susan, 140 Last of the High Kings, 86 Jensen, Robert, 201 Le Ciel, les oiseaux … et ta mère/Boys on Jesus Christ, 149, 151 the Beach, 161 Jones, Graham, 75–6 Leavetaking, The, 86 Jordan, Neil, 70–1, 86, 102, 132–3, Lee, Nancy, 127 137, 144 Leggott, James, 102, 140 Juno, 185 Lehner, Stefanie, 137–8, 141–2, 145, 148 Leigh, Danny, 177, 179, 181 Kalin, Tom, 191 lesbianism, 169 Kane, Michael, 106–7 Lethal Weapon, 112, 170 246 Index

Levy, Ariel, 200 Marsden, D. and Duff, E., 163 Liddy, Kevin, 68, 88–91, 104 masculinity , 81 alternative visions of, 165, 206 Limerick, 68 criminal and delinquent, 171–80 Little Boy Blue, 67, 74 crisis in, 10, 12, 16, 19, 58, 101, Loaded magazine, 124, 126, 158, 162 105–8, 148 Lock, Stock and Two Smoking Barrels, paternal, see fatherhood 113, 158, 174, 178 as performance, 4, 124, 126, 128, Long Good Friday, The, 172, 177 140, 161, 177 Long Kesh prison, 135–7 post- peace process, 145–52 Longtime Companion, 190 problematisation of, 6, 34, 109, Looking Glass, The, 97, 99–102, 105, 168 108, 110 protest, 154–81 Lost in Translation, 197 studies, 13, 33, 78 Love, Honour and Obey, 158 working class, 162–5 Lucas, Rose, 5, 46 see also hegemonic masculinity; Luck of the Irish, The, 45 hypermasculinity; underclass film Lynch, K. and Lodge, A., 63, 194 masochism, 96, 107, 109, 159, 170 Massey, Kevin, 111 Ma 6-T va crack- er, 161 materialism, 3, 44, 62 Mac an Ghaill, Máirtín, 97, 108, 121 Matrix, The, 107 Mac an Ghaill, Máirtín et al., 64 McCabe, Pat, 71 MacDonagh, John, 48 McCarthy, Gerry, 165, 178 Machinist, The, 94 McClane, John, 112 machismo, 3, 6, 54, 77–8, 125, 134, McClintock, Anne, 26 142, 176, 177, 180 McCourt, Frank, 86 Macken, Walter, 54 McDermottroe, Conor, 73–4, 102 MacLaren, P. and Stevens, L., 23, 197 McDevitt, Patrick F., 25–9, 31–2 Madden, Ed, 109, 190, 205–6 McDonagh, John M., 122 Madonna House Report (1996), 72 McDonagh, Martin, 122, 124–6 Maeve, 142–3, 152–3 McDougall, William, 23, 139 Magdalene Sisters, The, 72, 193 McDowell, Sara, 142 Magennis, C. and Mullen, R., 109 McKee, L. and Bell, C., 163 Magners Irish Cider, 23, 53, 196–7 McKenzie, John, 172 Magnolia, 159, 174 McKeown, Lawrence, 137 male rampage film, 159, 169 McLaverty, Bernard, 68–70 Man About Dog, 111, 155, 158–9, 163, McLoone, Martin, 36, 59, 60, 131–2 174 McMahon, Anthony, 11, 66, 156 Man from Snowy River, The, 46 McNamee, Eugene, 149–51 Man of Aran, 43, 85 McPherson, Conor, 109, 111 mancession, 114, 210 McQueen, Steve, 148–51 Manchester United Football Club, 66 McRobbie, Angela, 70 Manley, Eamonn, 147 McVeigh, Timothy, 132 Maoism, 68 Meaney, Geraldine, 23 Marcus, Shimmy, 177–8 men’s studies, 12, 108 Marlboro Man, 162 mental illness, 14, 129 marriage, 41, 43–5, 50, 53, 55, 77, Mépris, Le, 205 80–3, 86, 116, 117, 119, 144 Messner, M. and Montez de Oca, J., dissolution of, 108 34, 162, 186 Index 247 metrosexuality, 3, 6, 9, 34–5, 39, 56, Nasty Girl, The, 143 182–207 national identity, 3, 13–14, 21, 40 Mexican cinema, 13, 20 nationalism, Irish, 16–19, 22, 25–6, see also machismo 47, 58, 66, 68, 103, 130, 132, 136, Michael Collins, 132–7, 152 144, 153, 177 Mickybo and Me, 81, 91–2 Neale, Steve, 7, 184 migration, 13, 196 Neeson, Liam, 68, 133, 134, 142 Millennium Man, 6 Negra, Diane, 43, 156, 196–8 Miracle, The, 86 Nephew, The, 185, 187 misogyny, 55, 110, 124, 161, 201 New Ireland, 204 Modern Family, 108 New Laddism, 6, 36–7, 154–84 modernity, 1, 25, 84, 108, 115, 170, New Mannism, 6–9, 19, 24, 34–5, 185, 191, 200 133, 137, 145, 147, 153, 156, 164, Moffat, Tracey, 143 207 Mojo, 158 as narcissist, 82 Molony, Sinead, 115 as nurturer, 81 Monaghan, Barry, 110, 115 New Gaelic Man, 26, 39, 55–6 money, 43–4 deconstructing, 32–5 Mongey, Ray, 74 New Queer Cinema, 190–1 Monk, Claire, 98, 157, 164, 173, see also queerness 177–79, 185 New Soviet Man, 13 monogamy, 56 New Zealand cinema, 14 Moondance, 81, 91 National Film Unit, 14 Moore, Damien, 66 New Zealand Film Commission, 14 Moran, D. P., 29, 31, 62 Nice Coloured Girls, 143 Morgan, Eileen, 132–4, 137 Nietzsche, Friedrich, 107, 125–6 Morrison, Eve, 77 nihilism, 86, 98, 125, 128, 155, 159, Moser, Joseph, 85 170 Most Fertile Man in Ireland, The, 146–7, Nivea for Men, 35 185, 187, 189 Nixon, Sean, 16, 183 motherhood, 26, 83, 100, 103 Nochimson, Martha, 8 mother–son relationships, 93 Non Specific Threat, 109 see also fatherhood; family Norman, J. and Galvin, M., 74, 194 Motherland, 50, 190 Northern Ireland Assembly, 142 Mother Ireland 22, 190 Nothing Personal, 138, 140 Muid Eire, 95 November Afternoon, 185, 187, 189 Mullan, Peter, 72 Nye, Robert, 9, 170, 180 multiculturalism, 150, 198 Mulvey, Laura, 136, 184 O’Brien, Breda, 64, 83, 93, 95 Murphy, Brian, 93 O’Brien, Cormac, 109–10, 112 Murphy, Cillian, 1, 122 O’Brien, Emmet, 122 Murphy, Jenny, 193–4 O’Brien, Eugene, 116–17 Murphy, Pat, 142–3 O’Brien, Harvey, 167, 170 music, 20, 22, 25, 56, 62 O’ Carroll- Kelly, Ross, 110–11 gangsta rap, 180 O’Connell, Eithne, 119 O’Connor, Sinead, 60 Naked, 98, 113, 157 O’Crohán, Tomás, 51 narcissism, 3, 9, 48, 82, 184 O’Dea, Willie, 75 Nash, Catherine, 24–6, 32 O’Donnell, Damien, 76 248 Index

O’Donohoe, Stephanie, 157 Pedelty, Donovan, 51 O’Donovan, Fred, 38, 46 Performance, 178 O’Driscoll, Patrick, 77 Perrier’s Bounty, 155 O’Flaherty, Robert, 43, 85 Pete’s Meteor, 91–2 O’Halloran, Mark, 203–4 Petrie, Duncan, 14 O’Hara, Denis, 40, 43, 49 Pettitt, Lance, 21, 133, 155, 158, O’ Higgins- Norman, James, 63 171–4, 192 O’Mahony, P., 172 Pfeil, Fred, 102, 159, 170–1, 181 O’Neil of the Glen, 43–4 Philadelphia, 190 O’Shea, Patrick, 77 Piano, The, 184 O’Sullivan, Tadgh, 75–6 Picture of Dorian Gray, The, 107 O’Toole, Fintan, 32, 113, 151 Pier, The, 86, 104 , 131, 138 Pigs, 165, 191, 192 Óg Cusack, Donal, 34–5 Pine, Emile, 52 Olcott, Sydney, 41–3 Pitt, Brad, 185 On the Edge, 81, 86, 88, 105, 110, 122, political correctness, 123, 126, 179–80, 129 185 Once, 185, 187 political power, 10, 13 Ondine, 97, 99–100, 102 Pollock, George, 53 Ordinary Decent Criminal, 154–5, 158, Porky’s, 178 172, 174 pornography, 8, 115, 185, 192, Orlando, 184 199–205 Otherness, 28, 39, 129 post- traumatic stress disorder, 60 Our Boys, 12, 59, 64–6, 68, 72, 76 postcolonialism, 14, 16, 18, 22, 25, over- civilisation, 94 38, 41, 63, 77, 81–6, 97, 103, 151, 182 Paddy, 55 see also colonialism paedophilia, 34, 80, 192 post- feminism, see feminism paganism, 31 postmodernism, 6, 16, 56, 70, 96, Paisley, Ian, 144 98, 102, 126, 156, 164, 172, 182, paramilitarism, 152 197–8 see also Troubles, the poverty, 86, 98, 102, 155, 164, 166, 171 paranoia, 86, 132 Powell, Enoch, 20 Park, David, 138, 142 Prayer for the Dying, A, 138 Parked, 105, 110, 115–116, 128–9 Pretty Dirty Things, 203 Parker, Alan, 86 primitive masculinities, 43 parochialism, 126 primordialist myths, 22 Parson, Kate A., 109 prison, see Abu Ghraib prison; Parting Glances, 190 Armagh Prison; Long Kesh prison Passion of the Christ, The, 107 Professor Tim, 53 Past Pupil, 67, 77 prostitution, 102, 120, 123, 126–7, patriarchy, 4, 19, 108, 114, 153 200, 202–3 patriotism, 54, 78 , 48, 146 Patterson, Banjo, 46 PS I Love You, 23, 196–7 Paul, Pamela, 200–1 psychiatry, 73, 86, 87, 100–1, 103 Pavee Lackeen, 100 psychoanalysis, 59, 60, 96 Paying the Rent, 43–5 Freudian, 88 Peacefire, 146–7 psychology, 33, 61–3, 66, 78, 93, 94, Pearse, Padraig, 25, 29, 31, 48, 62, 78 103, 106, 122 Index 249

Puck Fair Romance, 44 Ritchie, Guy, 156, 159, 167, 174 Pulp Fiction, 156, 177 Robinson, Mary, , Pure Mule, 111, 117–18 70 Pyjama Girls, 115 Rockett, Kevin, 2, 21, 27, 41, 47, 49, 50, 53 Queer Eye for the Straight Guy, 184, Rogue Trader, 94 195 Rory O’More, 42 queer studies, 9 Rosaleen Dhu, 43–4 queerness, 16, 58, 145, 151, 191, 195, Royal Irish Constabulary (RIC), 27, 204–6, 212–13 49 see also New Queer Cinema RTÉ, 12, 37, 117, 179 queer fellas 182–207 Rubber Bandits, The, 37 Quiet Man, The, 197, 199 rural community, 62, 82, 119–20 Quinn, Ruairí, 65 Russo, Vito, 190 Ryan Report (2009), 32, 59, 65–6 Rabbitte, Jimmy, 81 see also clerical abuse race, 147, 150 Ryan, Paul, 82 racial politics, 8 Ryan’s Daughter, 128 racism, 63, 121, 125 white male privilege, 10 sadomasochism, 96 radio, 21 Sally’s Irish Rogue, 51, 53 Raftery, Mary, 72 Saltwater, 154, 158, 173, 174, 177 Rancid Aluminium, 158 Samuels, Andrew, 114, 130–1 rape, 83, 89 Sands, Bobby, 149–52 Rape Crisis Centre, 34, 80 Savage, 155 rapport talk, 126–7 Savran, David, 10, 96, 102, 107, 118, Raunch Culture, 200–1 150, 160, 170, 179–81 realism, 20, 103, 143, 203 schizophrenia, 117 bourgeois, 142, 191 Schumacher, Joel, 159 Recks, Declan, 116–18 sci- fi movies, 92 Recovered Memory Therapy (RMT), 60 Sconce, Geoffrey, 98, 112, 128, 134, Redfern, Nick, 146–7 159, 169, 174, 203 Reefer and the Model, 165–6, 191 Yard, 139 Reagan, Ronald, 134 Scrubs, 108 relativism, 98, 159 Se7en, 107 religion, 16, 20, 25–6, 35, 48, 55, 66, Seafarer, The, 109, 112 82 Seaside Stories, 81, 97, 99 see also Catholicism; clerical abuse; Second Wave, the, 83 Islam; Protestantism sectarianism, 152 Renaissance era, 106 see also Troubles, the report talk, 127 secularism, 79 reproduction and fertility, 22, 77 self- discipline, 26 see also sex self- sacrifice, 22, 31, 150, 153 republicanism, Irish, 130–53 Sensation, 37, 179, 199–205 see also IRA sex, 9, 22, 118, 165, 176, 187 Reservoir Dogs, 156, 177 sexual relationships, 33 Resurrection Man, 145 see also reproduction and fertility Revenge, 67, 77 , 63, 123, 125 Ricoeur, Paul, 70–1 sexual health, 63 250 Index sexuality, 9, 26, 107, 147, 163, 187, , 71 203–4, 207 Spanish Civil War, 89 sexual orientation, 63 speech act theory, 127 teaching about, 32–3, 63 Spicer, Andrew, 4, 17, 36, 155, 161, see also bisexuality; heterosexuality; 167, 177 homosexuality; metrosexuality; Spin the Bottle, 111 transexuality sport, 13, 20, 21, 25, 29, 30, 35, 56, Sexy Beast, 158 62–3 Shake Hands with the Devil, 131 see also boxing; Gaelic Athletic Shakespearean tragedy, 174 Association; hurling Sheridan, Jim, 24, 81, 84, 95–6, 138–9 St. Enda’s School, 29, 31, 48, 62 Shiner, 158 Stalin, Joseph, 13 Shopping, 98, 157, 166, 177 Stam, Robert, 207 silent era, 2, 3, 21 States of Fear, 72 Silent Grace, 152 Stembridge, Gerry, 3, 77, 84 Silverman, Kaja, 96 Stevenson, Robert Louis, 107 Simpson, Mark, 184 Stokes, Sara, 200 Singleton, Brian, 97 Stoneman, Rod, 14–15, 182, 183 Sinn Féin, 27 storytelling, 20, 22, 58 Sisson, Elaine, 29, 31–2, 62 Strange Case of Dr. Jekyll and Mr. Hyde, Sixth Sense, The, 93 The, 107 Small Engine Repair, 81, 86, 105, 110, Strassman, B. and Clarke, A. L., 41 115, 118, 121 Strate, Lance, 186, 196 Small Faces, 98, 157 suicide, 16, 34, 58, 64, 101, 113–15, Smallhorne, Jimmy, 120, 179, 193, 207 119, 122 smart film, 6, 98, 112, 159, 175, 198, bombers, 131–2 203 Sullivan, James M., 46 Smith, Paul, 4, 7 Summer of the Flying Saucer, 91–2 Smith, James M., 70, 72 Summertime, 77, 192 Smith, J., 172 Swansong: the Story of Occi Byrne, 67, 73, Smoke Signals, 93 81, 97, 99, 102, 105, 110, 129 Snap, 102 Sweet Sixteen, 102 Snapper, The, 81, 185 Snatch, 113, 157, 158, 174, 178 Tarantino, Quentin, 126, 159, 177 social marginalisation, 16, 58, 98, Tarr, Carrine, 160–1 121, 154–81 Tasker, Yvonne, 7, 112, 156, 170, 184 sociolinguistics, 126–7 Tasker, Y. and Negra, D., 194 sociology, 12–13, 60, 63, 64, 66, 78, Tate, Catherine, 189 93, 103, 120–1, 128, 135, 154, teen comedy, 159, 165, 174, 178, 186 163 television, 12, 21, 24, 29, 37, 38, 108, sociology- of- culture approach, 18 111, 117, 125, 136 Soldier’s Song, A, 59, 68, 88 Teorema, 187 Solondz, Todd, 203 Terrible Beauty, A, 131 Some Mother’s Son, 149 territorialism, 22 Something for Everyone, 187 terrorism, 8 Son of Erin, A, 42 see also 9/11; Troubles, the Song for a Raggy Boy, 59, 67, 72, 193 theatre, 20–1 Sopranos, The, 8, 162, 171, 198 Thelma and Louise, 184 Soviet Cinema, 12, 13, 20, 38 Thin Red Line, The, 205 Index 251

Thirty- Five Aside, 67, 75–6 American selfhood, 20, 39 This Other Eden, 51, 53 cultural representations of gender, Tickell, Paul, 154 15 Tiger’s Tail, The, 107, 121–2 homosexuality in, 191 Tighe, Fergus, 76 see also American cinema; Titley, G. and Lentin, A., 206 American Dream; American Tommy Hilfiger, 185 frontier; American Men’s Tottenham Hotspur FC, 66 Movement; race/racial politics Townsend, Stuart, 1 urban culture, 1, 3 Toynbee, Jason, 18 Tracy, Tony, 117 Valera, Eamon de, 21, 27, 47, 85 Trainspotting, 98, 112–13, 154, 156–7, Van, The, 177 165–7, 175, 176, 178 Verhoeven, Michael, 143 transcendentalism, 27, 39 Veronica Guerin, 155, 158, 172 transsexuality, 5, 16, 58 Vicious Circle, 154, 158, 172 Travellers, 63, 89–90 victimhood, 4, 107, 118, 151, 160 Trimble, David, 137–8 Victorian era, 31 , 51, 80 vigilantism, 176, 198 Trouble with Sex, The, 187, 189, 204 violence, 16, 19, 54, 58, 60, 102, 161, Troubles, the, 19, 36, 49, 82, 95, 163, 177 130–53, 187 legitimacy of, 130 see also Bloody Sunday; Good see also domestic violence; Friday Troubles, the Agreement; IRA; paramilitarism; Visit, The, 142, 152–3 sectarianism; Ulster Vodafone, 24, 29, 35, 38 Volunteer Force (UVF) Troyer, J. and Marchiselli, C., 159, Walsh, Aisling, 72 186 Walsh, Enda, 148 Truth Commissioner, The, 138, 142 Walsh, Fintan, 19, 109, 188, 190–3, Tudor, Andrew, 171 195, 203–7 Twenty Four Seven, 102, 140 Walsh, Orla, 77, 84, 142, 179, 192, 198 Twin Town, 98, 157, 165–6, 176–7 war movies, 4 War of Independence, 49, 53 (UUP), 137 Ward, Margaret, 133, 142 Ulster Volunteer Force (UVF), 148 Wardrop, Kenneth, 115 Ultimate Force, 171 warfare, 22–4 underclass film, 6, 16, 19, 36, 98, 112, Waters, John, 33, 60, 64, 93, 95, 97 154–81 Webster Boy, The, 61 unemployment, 13, 98, 114, 132, 163, Wernick, Andrew, 183–4 166, 170 western movies, 4, 46 United Kingdom, 12 What’s Eating Gilbert Grape, 93 advertising in, 34 Whelan, C. T. et al., 163 British masculinity, 56 Whelehan, Imelda, 106, 125 cultural representations of gender, When Brendan Met Trudy, 155, 185, 15, 24 187, 189 see also British cinema; colonialism When Love Came to Gavin Burke, 43 , 10, 12, 20 When the Sky Falls, 155, 158, 172 abuse scandals in, 32 White, Mo, 148 advertising in, 34 Wild About Harry, 146–7, 185, 187 252 Index

Wilde, Oscar, 107 see also gender; lesbianism; Willis, Bruce, 112, 123 motherhood Willott, S. and Griffin, C., 163 World War I, 23 Willy Reilly and His Colleen Bawn – A World War II, 86 Story of the Penal Day, film, 39, Wright, Will, 46 45, 48–9 Willy Reilly and his Dear Colleen Bawn, , 126 novel, 48 Wilson, Emma, 81 Year My Voice Broke, The, 160 Winters, Carmel, 102 Yeats, W. B., 46 Withdrawal, 166 Younghusband, Jan, 150 Without a Trace, 171 Your Friends and Neighbours, 84, 203 WKD, 110 You’re Dead, 158 women youth culture, 167–9 emotional damage to, 11 Yuval- Davis, Nira, 22 subordination of, 4 women’s rights, 180 zeitgeist, 17