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The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
January 2020 the Lighthouse Robert Eggers the Irish Film Institute
JANUARY 2020 THE LIGHTHOUSE ROBERT EGGERS THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. THE NIGHT WINTER MENU OF IDEAS 2020 Fancy some healthy and hearty food this January? Look The Night of Ideas is a worldwide initiative, spearheaded by no further than the IFI Café Bar’s delicious winter menu, Institut Français, that celebrates the constant stream of ideas featuring new dishes including Wicklow Lamb Stew, between countries, cultures, and generations. The IFI and Vegetarian Lasagne, and Warm Winter Veg with Harissa the French Embassy are proud to present this third edition in Yoghurt and Beetroot Crisps. Book your table by emailing Ireland, the theme of which is ‘Being Alive’. For more details on [email protected] or by ringing 01-6798712. the event, please see page 15. NAME YOUR SEAT COMING SOON Parasite Naming a seat in the newly refurbished Cinema 1 is a Coming to the IFI in February are two of the year’s most fantastic way to demonstrate your own passion for film, anticipated new releases: Bong Joon Ho’s Parasite, winner of celebrate the memory of someone who loved the IFI, or the 2019 Palme d’Or and hotly tipped for Oscar glory, follows the gift a unique birthday or anniversary present to the film sinister relationship between an unemployed family and their fan in your life! The only limit is 50 characters and your patrons; and Céline Sciamma’s stunning Portrait of a Lady on Fire, imagination. -
Irish Film Institute What Happened After? 15
Irish Film Studyguide Tony Tracy Contents SECTION ONE A brief history of Irish film 3 Recurring Themes 6 SECTION TWO Inside I’m Dancing INTRODUCTION Cast & Synopsis 7 This studyguide has been devised to accompany the Irish film strand of our Transition Year Moving Image Module, the pilot project of the Story and Structure 7 Arts Council Working Group on Film and Young People. In keeping Key Scene Analysis I 7 with TY Guidelines which suggest a curriculum that relates to the Themes 8 world outside school, this strand offers students and teachers an opportunity to engage with and question various representations Key Scene Analysis II 9 of Ireland on screen. The guide commences with a brief history Student Worksheet 11 of the film industry in Ireland, highlighting recurrent themes and stories as well as mentioning key figures. Detailed analyses of two films – Bloody Sunday Inside I'm Dancing and Bloody Sunday – follow, along with student worksheets. Finally, Lenny Abrahamson, director of the highly Cast & Synopsis 12 successful Adam & Paul, gives an illuminating interview in which he Making & Filming History 12/13 outlines the background to the story, his approach as a filmmaker and Characters 13/14 his response to the film’s achievements. We hope you find this guide a useful and stimulating accompaniment to your teaching of Irish film. Key Scene Analysis 14 Alicia McGivern Style 15 Irish FIlm Institute What happened after? 15 References 16 WRITER – TONY TRACY Student Worksheet 17 Tony Tracy was former Senior Education Officer at the Irish Film Institute. During his time at IFI, he wrote the very popular Adam & Paul Introduction to Film Studies as well as notes for teachers on a range Interview with Lenny Abrahamson, director 18 of films including My Left Foot, The Third Man, and French Cinema. -
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt “The World Goes One Way and We Go Another”: Movement, Migration, and Myths of Irish Cinema by Dana C. Och B.A. in English, University of Pittsburgh, 1996 M.A. in English, University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Dana C. Och It was defended on 8-31-06 and approved by Dr. Nancy Condee Dr. Adam Lowenstein Dr. Colin MacCabe Dr. Marcia Landy Dissertation Director ii Copyright © by Dana C. Och 2006 iii “The World Goes One Way and We Go Another”: Movement, Migration and Myths of Irish Cinema Dana C. Och, Ph.D. University of Pittsburgh, 2006 The dissertation considers Irish films through the valence of movement and migration to conceptualize a cinema that can account for how films function locally and transnationally. I consider various forms of migration in films produced in Ireland to interrogate how identity and the nation are presented. Considering forms of migration opens a different approach to the films that enables questioning of the myths of the nation-state within globalized capital and culture. In Ireland, the land has given shape to the physical boundaries of imagined identity; land is understood as a material trace denoting a linear history of invasion, conquest, and ultimately independence – an evolution from colonial oppression to postcolonial identity. -
Notes on Contributors
Contemporary Theatre Review, 2018 Vol. 28, No. 1, 1–2, https://doi.org/10.1080/10486801.2018.1426918 Notes on Contributors Carl Lavery is Professor of Theatre at the University of Glasgow. His recent edition of the journal Green Letters, ‘Performance and Ecology: What Can Theatre Do?’, will be published as a book by Routledge in 2018. He is currently finishing a new monograph, Interrogating the Human: Ecology,Theatre, and Theatricality. 5 Andrew Lennon is a PhD candidate at the University of Birmingham supported by the AHRC Midlands3Cities DTP. His research focuses on the mobilisation of documentary strategies in contemporary performance. He completed an undergraduate degree at Trinity College Dublin and studied at the Motley School of Design. He has worked in Ireland and 10 England as a lighting technician and designer. Anna McMullan is Professor of Theatre and Co-Director of the Beckett International Foundation at the University of Reading. She was Principal Investigator of the AHRC Staging Beckett project, a collaboration between the universities of Reading and Chester, and the Victoria and 15 Albert Museum, London, from 2012 to 2015. McMullan is author of Performing Embodiment in Samuel Beckett’s Drama (2010) and Theatre on Trial: The Later Drama of Samuel Beckett (1993), and co-editor of Reflections on Beckett (2009) with Steve Wilmer. She also publishes on Irish theatre and Performance and is co-editor with Cathy Leeney of The 20 Theatre of Marina Carr: ‘before rules was made’ (2003). Trish McTighe is Lecturer in Theatre at the University of Birmingham. Previously, she lectured at Queen’s University, Belfast and was an AHRC post-doctoral researcher on the Staging Beckett Project at the University of Reading (2012–2015). -
The Mcm Cinémathèque Film Series - Fall 2013
THE MCM THE MCM CINÉMATHÈQUE FILM SERIES - FALL 2013 CINÉMATHÈQUE SEPTEMBER 6 OCTOBER 4 NOVEMBER 8 FILM SERIES A MOMENT OF INNOCENCE (Nun va Goldoon) directed by Mohsen THE PRINESS AND THE WARRIOR (Der Krieger und die Kaiserin) BRENDAN BEHAN’S DUBLIN directed by Norman Cohen, 1966, Ireland, Makhmalbaf, 1996, Iran/France, 78 min. Mirhadi Tayebi, Mohsen directed by Tom Tykwer, 2000, Germany, 135 min. Franka Potente, 29 min. Brendan Behan. Makhmalbaf, Ali Bakhsi, Ammar Tafti. Benno Fürmann, Joachim Król, Lars Rudolph. THE DEAD directed by John Huston, 1987, UK/Ireland/USA, 83 min. ZELIG directed by Woody Allen, 1983, USA, 79 min. Woody Allen, Anjelica Huston, Donal McCann, Dan O’Herlihy, Donal Donnelly. Mia Farrow, Patrick Horgan, John Buckwalter. OCTOBER 11 R.D. LAING’S GLASGOW directed by John McGreevy, UK, 48 min. NO SCREENING – MCM Sonic Focus Conference R.D. Laing. RARE MCM SEPTEMBER 13 TRAINSPOTTING directed by Danny Boyle, 1996, UK, 94 min. CAPRICORN ONE directed by Peter Hyams, 1977, USA/UK, 123 min. OCTOBER 18 Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd. ARCHIVES Elliott Gould, James Brolin, Brenda Vaccaro, O.J. Simpson. DRAGONWYCK directed by Joseph L. MankiewicZ, 1946, USA, 103 EXECUTIVE ACTION directed by David Miller, 1973, USA, 91 min. min. Gene Tierney, Walter Huston, Vincent Price, Glenn Langan. NOVEMBER 15 Burt Lancaster, Robert Ryan, Will Geer, Gilbert Green. SECRET BEYOND THE DOOR directed by FritZ Lang, 1947,USA, FAMILY LIFE directed by Ken Loach, 1971, UK, 108 min. Sandy Ratcliff, 99 min. Joan Bennett, Michael Redgrave, Anne Revere, Barbara Bill Dean, Grace Cave, Malcolm Tierney. -
Waiting for Godot
° WAITING FOR GODOT BY SAMUEL BECKETT BAM THE BROOKLYN ACADEMY OF MUSIC The look were Big on this season! Liberate your body with full easy tops sliding over voluminous skirts or narrowed trousers for an exciting new proportion! Layer.on a roomy vest or an uncon- structed blazer for polish in this new relaxed mood in dressing. Al the A&S nearest you. Abraham and Straus 1975s, 002,67 LEPERCQ SPACE SAM Thursday, May 25, 1978- Sunday, June 18,1978 The BAM Theatre Company with the cooperation of Goethe House, New York presents Samuel Beckett's Production of WAITING FOR GODOT by Samuel Beckett with Michael Egan Milo O'Shea Austin Pendeleton Sam Waterston R.J. Murray,Jr. directed by Walter D. Asmus scenery supervised by costumes supervised by lighting supervised by Carole Lee Carroll Dona Granata Shirley Prendergast This production is based on Samuel Beckett's own direction of Waiting For Godot at the Schiller Theater in Berlin during its 1974-75 season. BAM Theatre Company Board of Directors: Arne Vennema, Chairman/ Harvey Lichtenstein, President/ Hart ney J. Arthur/ Frank Dunlop/ Rita Hillman/ Berenice Weiler SAM Theatre Company Productions are made possible in part through a grant from the New York State Council on the Arts. The Brooklyn Academy of Music gratefully acknowledges the support of the National Endowment for the Arts, and the Department of Cultural Affairs of the City of New York. Brownstones THEY DON'T MAKE 'EM LIKE THAT ANYMORE Why? Because the painstaking With unique classic shapes and forms from craftsmanship involved in a Brownstone rooftops to stoop railings that speak out, structure is virtually a lost art today. -
Abbey Theatre Approximately 1903-1988 MS.1986.135
Boston College Collection of the Abbey Theatre approximately 1903-1988 MS.1986.135 http://hdl.handle.net/2345/2773 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Related Materials ........................................................................................................................................... 4 Historical Note ............................................................................................................................................... 5 Scope and Contents ........................................................................................................................................ 5 Arrangement ................................................................................................................................................... 6 Collection Inventory ....................................................................................................................................... 7 I: Correspondence ....................................................................................................................................... -
View Enjoying Joyce Brochure
MORE SPECIAL BLOOMSDAY ENJOYING PROGRAMS CELEBRATION JOYCE CONCErt: is made Husband & possible thanks wife duo to CAStlEBAY will play a mix the friends of the of Irish songs ridgefield library including some featured in Joyce’s works. A great & way to celebrate Wednesday, June 16 the wadsworth St. Patrick's Day! BLOOmsDAY celebrates the day, russell lewis fund. Saturday, March 20 June 16, 1904, when the action of 2 PM James Joyce’s novel Ulysses takes place. The day is named after the central character in the novel, Leopold Bloom, and is celebrated every year around the Visit the Library’s world by Joyce enthusiasts. website at EXHIBIT: Here at the Library we will round-off www.ridgefieldlibrary.org Donald our six month journey into the life and works of the author with a Bloomsday for more information Axleroad: celebration. Enjoy Irish music, Joyce The Lure inspired refreshments, readings by local and resources. of Mythology celebrities and dramatic performances Woodcuts by throughout the day. Donald Axleroad Visit the Ridgefield Library’s website ENJOYING at www.ridgefieldlibrary.org for more details. Icarus & The Giant Wave Joyce EXHIBIT: JUNE 1 - 29 @ the reception: The Ridgefield Library Sponsored by The Friends of the 472 main street ridgefield ct 06877 Ridgefield Library Sunday, June 13, 2 - 4:30 PM Ridgefield Library (203)438-2282 ridgefieldlibrary.org january - june 2010 FINAL JOYCE BROCHURE 1 12/17/09 9:12:10 AM A MULTi-PART, MULTi-MEDIA EXPLORATION OF THE LIFE & WORKS OF JAMES JOYCE LECTURE: LECTURE: MOVIE LECTURE/ An Introduction to “Read Ulysses? - SCREENING & diSCUSSION James Joyce Are You Out of DISCUSSION: SERIES: Join us for the kick off Your Mind?” The Dead - Directed by John Huston Ulysses program in our six- Joyce enthusiast Rated PG, 83 Mins. -
Molloy CD Booklet
drama Sean Barrett • David Burke Terence Rigby • Nigel Anthony Zachary Fox Directed by John Tydeman Samuel Beckett Waiting for Godot NA240212D UNABRIDGED 1 Act 1 Part 1 9:10 2 Act 1 Part 2 5:34 3 Act 1 Part 3 2:36 4 Act 1 Part 4 6:10 5 Act 1 Part 5 9:07 6 Act 1 Part 6 10:18 7 Act 1 Part 7 9:00 8 Act 1 Part 8 10:07 9 Act 1 Part 9 7:46 10 Act 2 Part 1 9:06 11 Act 2 Part 2 5:15 12 Act 2 Part 3 4:49 13 Act 2 Part 4 5:18 14 Act 2 Part 5 2:27 15 Act 2 Part 6 3:01 16 Act 2 Part 7 4:52 17 Act 2 Part 8 7:24 18 Act 2 Part 9 5:43 19 Act 2 Part 10 5:00 Total time: 2:02:43 2 CAST Vladimir Sean Barrett Estragon David Burke Lucky/Narrator Nigel Anthony Pozzo Terence Rigby Boy Zachary Fox Directed by John Tydeman Recorded and edited by Norman Goodman Stage Management by Peter Novis Recorded at RNIB Talking Book Studios © Samuel Beckett 3 Waiting for Godot: the background By John Calder There is now no doubt that not only followed them. There has been a theatre is Waiting for Godot the outstanding of great talent that has sought mainly to play of the twentieth century, but it is entertain during a difficult century and also Samuel Beckett’s masterpiece. another that tried to expose what is Although it achieved performance before wrong with the world in order to make any other of the thirty-four dramatic us want to change and improve it. -
Waiting for Godot at 60: an Exhibition
Waiting for Godot at 60: An Exhibition Higher Bridges Gallery, Enniskillen, Saturday 25th July - Sunday 2nd August 2015 marks the 60th anniversary of the English language premiere of Samuel Beckett’s Waiting for Godot, directed by Peter Hall, at the Arts Theatre, London, on 3rd August, 1955. The Irish premiere of Waiting for Godot followed at the Pike Theatre, Dublin, directed by Alan Simpson, on 28 October, 1955. Drawing on materials from the University of Reading’s unique Beckett Collection, this exhibition celebrates the event that changed the landscape of theatre in the UK, Ireland and across the world. The exhibition is a collaboration between the United Kingdom Arts and Humanities Research Council-funded Staging Beckett project (https://www.reading.ac.uk/staging-beckett/) and the Beckett International Foundation (http://www.beckettfoundation.org.uk/). This exhibition was therefore made possible by AHRC funding and BIF support, and we are most grateful to the Happy Days Festival for the invitation to participate in their 2015 Festival. Curators: Matthew McFrederick, Anna McMullan, Mark Nixon EXHIBITION GUIDE Unless otherwise indicated, materials are from the Beckett Collection, University of Reading (UoR). We are grateful to the Victoria and Albert Museum for permission to use an image from their Houston Rodgers Collection in our publicity, and we thank Guy Baxter and Special Collections at UoR, the Happy Days Festival team, and Sarah McHugh, Museums Services Manager of Fermanagh & Omagh District Council. The items included here indicate a very small selection of productions of this play that remains extremely popular across the globe. Images from some additional productions can be seen on the slide show which is presented in the exhibition, compiled by Matthew McFrederick. -
Bamcinématek Presents Sneak Previews from IFC Films
BAMcinématek goes Home for the Holidays— a seven-film series of not-so-festive auteurist Christmases, Dec 15—20 Opens with a new DCP remaster of Joe Dante’s Gremlins; all other features in 35mm The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Nov 30, 2012—BAMcinématek closes its calendar year with Home for the Holidays (Dec 15—20), a seven-film series of not-so-festive auteurist Christmas fare through the lenses of Minnelli, Huston, Kubrick, Waters, Dante, avant-garde master Jerome Hill, and a guy named Theodore. The series opens with Joe Dante’s Gremlins (1984—Dec 15) in a DCP remaster; unfortunately, all extant 35mm prints at the Warner Bros. archive were eaten by Gremlins shortly after their projection booth rampage. In Dante’s inspired It’s a Wonderful Life-parody-cum-monster movie, chaos gleefully reigns over Christmas in the little town of Kingston Falls. When Billy Peltzer breaks the rules in caring for his furry pet mogwai Gizmo (voiced by mysophobic comedian-turned- game show host Howie Mandel), he adds insult to injury for his grinchy girlfriend, played by Phoebe Cates (“you say you hate Christmas and people treat you like a leper”). Gremlins is chock-full of cameos including Steven Spielberg, Robby the Robot, Chuck Jones, and Red Skelton. In Vincente Minnelli’s beloved Meet Me in St. Louis (1944—Dec 16), the mounting tension in the Smith family culminates with tiny terror Margaret O’Brien decapitating her father’s snowman stand-in on the front lawn, but Judy Garland manages to