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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. -
Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983). -
Introduction to Theatre | University of Reading
09/26/21 FT1ITH: Introduction to Theatre | University of Reading FT1ITH: Introduction to Theatre View Online This module introduces you to the study of theatre and performance through a series of play text case studies and theatre visits. ‘[1973] “Not I” (Samuel Beckett)’, 2010 <https://www.youtube.com/watch?v=M4LDwfKxr-M> ———, 2010 <https://www.youtube.com/watch?v=M4LDwfKxr-M> ‘About the Play | Cymbeline | Royal Shakespeare Company’ <https://www.rsc.org.uk/cymbeline> ——— <https://www.rsc.org.uk/cymbeline> ‘Alan Cumming and Tony Curran in Rehearsals for The Bacchae’, 21AD <https://www.youtube.com/watch?v=slqXLI2DoRc> ‘A Pacifist’s Guide to the War on Cancer | National Theatre’ <https://www.nationaltheatre.org.uk/shows/a-pacifists-guide-to-the-war-on-cancer> ——— <https://www.nationaltheatre.org.uk/shows/a-pacifists-guide-to-the-war-on-cancer> Arnott, Peter D., and ebrary, Inc, Public and Performance in the Greek Theatre (London: Routledge, 1991) <http://site.ebrary.com/lib/reading/Doc?id=10060943> Ashby, Clifford, and ebrary, Inc, Classical Greek Theatre: New Views of an Old Subject (Iowa City, Iowa: University of Iowa Press, 1999), Studies in theatre history & culture <http://site.ebrary.com/lib/reading/Doc?id=10579441> Aston, E., ‘“Semiotics of Performance”’, in Theatre as Sign-System: A Semiotics of Text and Performance (London: Routledge, 1991), pp. 99–122 <http://reading.eblib.com/patron/FullRecord.aspx?p=1581598> Aston, Elaine, and George Savona, Theatre as Sign-System: A Semiotics of Text and Performance (London: Routledge, 1991) -
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. -
Filmography V6.Indd
a filmography Foreword by The Irish Film Institute For over 60 years, the Irish Film Institute has been dedicated to the promotion of film culture in Ireland and therefore is proud to present this filmography of Samuel Beckett’s work. Beckett remains one of Ireland’s most important and influential artists and Samuel Beckett – A Filmography provides a snapshot of the worldwide reach and enduring nature of his creativity. As part of the Beckett centenary celebrations held in April 2006, the Irish Film Institute organised a diverse programme of films relating to the work of Beckett, including a tour of the line-up to cinemas around the country. Prior to this, the Irish Film Institute provided the unique opportunity to view all 19 films in the ‘Beckett on Film’ series by screening the entire selection in February 2001. This filmography provides the perfect accompaniment to these previous programmes and it illustrates that Beckett’s work will continue to be adapted for film and television worldwide for years to come. Photograph by Richard Avedon Samuel Beckett – A Filmography was made possible though the kind support of the Department of Arts, Sport and Tourism and the Beckett Centenary Council and Festival Committee. Mark Mulqueen Director, The Irish Film Institute An Introduction Compiling a filmography of Beckett’s work is both a challenging and daunting prospect. It was important, from the outset, to set some parameters for this filmography. Therefore, to this end, I decided to focus on the key area of direct adaptations of Beckett’s work filmed for cinema or television. -
Television, Radio & Theatre September 2019
Television, Radio & Theatre September 2019 Congratulations to… Kieran Hurley for winning the Carol Tambor ‘Best of Edinburgh’ Award for MOUTHPIECE Javaad Alipoor whose RICH KIDS: A HISTORY OF SHOPPING MALLS IN TEHRAN won a Scotsman Fringe First Award during week one. And Lynette Linton for her Stage Debut nomination for Best Creative West End Debut, shared with designer Frankie Bradshaw for SWEAT and Jade Lewis who is nominated for Best Director for SUPERHOE. Writer-directors Claire Tailyour and Chloë Wicks whose short films BELITTLED and CUBICLE will be screening in the BAFTA recognised Underwire Festival (september 13th-22nd). Chloë is nominated in the Best Director category and Claire in the Best Screenplay category Underwire Festival Film HOPE GAP: Toronto Film Festival, 2019 HOPEGAP premiers at the Toronto Film Festival on Friday the 6th and Saturday the 7th of September. Directed and written by Oscar-nominated William Nicholson, the ‘razor-sharp’ drama about long-term love features brilliant performances from Bill Nighy and four-time Oscar nominee Anette Benning. HOPEGAP London Film Festival- Now Booking KRABI, 2562: London Film Festival – 3rd and 13th October: Booking opens this week Selected for the Experimenta Special Presentation, this collaboration between award-winning directors Anocha Suwichakornpong and Ben Rivers is a multidimensional exploration of the outskirts of Krabi in Thailand. The film extends freely to the local communities, inviting them to join in the crafting of a story that slithers mischievously between the appearance and disappearance of a stranger, before and after, fiction and reality, documentary and camp, mass tourism and the birth of the Holocene. -
23Rd July to 3Rd August 2015
23RD JULY TO 3RD AUGUST 2015 2015 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Lughnasa_advert.qxp_Layout 1 01/07/2015 10:33 Page 1 Ireland’s first annual cross-border arts event Donegal, Welcome to Friel Country (Aug 20-26 ROI) Belfast, Here I Come! (Aug 26-31 NI) COMING SOON PRINCIPAL FUNDER Ireland’s first annual cross-border arts festival IDonegal,reland’s Welcome first ann toua Friell cro Countryss-borde (Augr art s20-26 even ROI)t Donegal, Welcome to Friel Country (Aug 20-26 ROI) Ireland’s first annual cross-border arts event Belfast, Here I Come! (Aug 27-31 NI) Donegal, Welcome to Friel Country (Aug 20-26 ROI) B elfast, Here I Come! (Aug 26-31 NI) Belfast, Here I Come! (Aug 26-31 NI) A new Happy Days EIBF BioFestival www.lughnasainternationalfrielfestival.com Front Cover Illustration: Samuel Beckett by George Tabori. Kind permission of The Berliner Ensemble DOS A DEUX 2ND ACT (FRANCE) CONTENTS starting from page IRISH PREMIER Location: HIG HArdhowenLIGHTS Theatre Krapp’s Last Tape (1958), a one act play6 Date: Wed 6. August & originally titled the ‘Magee Monologue’, was Thu 7. August inspired by the Northern Irish actor Patrick Time: 8.00pm Magee whose voice and ‘banana walk’ THEATRE Beckett admired. Considered by many as14 Price: £18 / £16 Beckett’s most ‘perfect’ play, the 69 year Duration: ca. 75mins old Krapp listens and interjects with his UK & IRELAND PREMIERE taped 39 year old self, tenderly and scoffing. MUSIC 26 The play recalls Krapp’s early love, some Krapp - Klaus Maria Brandauer Director - Peter Stein think modeled on Beckett’s early love of his cousin Peggy Sinclair whom he spent time WAT - WRITER & ARTISTS TALKS 30 In German language with in Kassel, Germany in 1928.* The play’s with EnglishREA surtitlesDINGS 15 title intimates that this will also be the last tape Krapp will record. -
IN THIS ISSUE L7
Issue No. 140 March 1989 Price 40p I l7 \ r IN THIS ISSUE Letters to the Editor History of Maynooth - Series Sports News Political Party Notes Childrens Corner Street Talking Resident's Associations News vlng• a Party? Hire all your requirements from us (Delpb/Cutlery/Glass/Table LinenZTables and Chairs etc.) " OR GIVE YOURSELF A TREA T I AND LET US LOOK AFTER ALL YOUR CA TERING - Pot6p O'Bpi6R Gatspinf1 GO. },l;(). "WOODVILLE", PAGESTOWN, MAYNOOTH. PHONE: 286566 ~ 00 "" 0 o EDITORIAL MAYNOOTH NEWSLETTER published by The Travellers PUTTING THE PAT MAYNOOTH COMMUNITY INTO pATRICK COUNCIL Travellers have been in the national news recently, as Dublin County Coun S1. Patrick's Day this year promises to Editorial Board cil has attempted to pursue a policy of be an occasion of hilarity, as the Kay McKeogh siting halting sites throughout the Community Council have laid out a day Peter Denman county. These plans have been re of fun, starting with the parade, and Ann McStravick sisted by various interests, despite the finishing with a dance in the Parish Suzanne Redmond plea from the ArChbishop of Dublin, Dr. Hall. The Parade is expected to be ElizahAth Ui Bhriain Desmond Connell for some compas bigger and better than ever, and RTE Mary Simon sion in this area. have promised they will come this year. Carol-Ann -Reaper Most of the protests against the siting For those soher enough to take it , the of halting sites relate to the anticipated afternoon will be spent in the Harbour The opinions and statements ex problems - vandalism, crime, dirt, falls Field, watching Daisy Satchwell con pressed in the articles are those of the in property values, assuming that all of tributing the most desirable pat that contributors and not necessarily those these are inevitable, while little atten has ever been lusted after. -
BAM Presents the Highly Anticipated US Premiere of Three One-Woman
BAM presents the highly anticipated US premiere of three one-woman Samuel Beckett plays—Not I, Footfalls, Rockaby— featuring a fearless performance by acclaimed Irish actor Lisa Dwan Directed by the playwright’s longtime collaborator Walter Asmus, the production comes to Brooklyn following sold-out performances at the Royal Court, a critically acclaimed West End run, and a UK and international tour that continues through September “The astonishing actress Lisa Dwan…doesn’t just uncover layers; she digs all the way to the void beneath them.” —The New York Times Bloomberg Philanthropies is the 2014-2015 Season Sponsor BAM 2014 Next Wave Festival sponsored by Time Warner Inc. Not I, Footfalls, Rockaby By Samuel Beckett A Royal Court Theatre and Lisa Dwan Production In association with Cusack Projects Limited Directed by Walter Asmus Set design by Alex Eales Lighting design by James Farncombe Music by Tom Smail Sound design by David McSeveney Presented in association with Irish Arts Center Talk— Beckett at BAM: A look into the BAM Hamm Archives With Jonathan Kalb and Sharon Lehner Sep 18 at 6pm BAM Fisher (Hillman Studio), 321 Ashland Place Tickets: $15, $7.50 for Friends of BAM BAM Harvey Theater (651 Fulton Street) Oct 7—11 at 7:30pm; Oct 12 at 3pm Tickets start at $20 Brooklyn, NY/Sep 4, 2014—This remarkable staging of three one-woman plays by Samuel Beckett—directed by the playwright’s longtime friend and collaborator Walter Asmus—shines a spotlight on the obsessive rhythms of existence: rambling, pacing, and rocking. Irish actor Lisa Dwan worked with legendary actress Billie Whitelaw (who originated all three roles) in preparation for her performances, which drew glowing reviews in the UK. -
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett Audiovisual Material, Circa 1965-1993
REILLY, JOHN, 1939-2013. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Reilly, John, 1939-2013. Title: John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Call Number: Manuscript Collection No. 1336 Extent: 2 linear feet (2 boxes), AV Masters: 23 linear feet (24 boxes) Abstract: Audiovisual materials created by John Reilly for his documentaries Waiting for Beckett (1994) and Peephole Art-Beckett For Television (1994). Language: Some materials in English and French. Administrative Information Restrictions on Access Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source gift, 2015 Citation [after identification of item(s)], John Reilly Samuel Beckett audiovisual material, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Reilly Samuel Beckett audiovisual material, circa 1965-1993. Manuscript Collection No. 1336 Processing Unarranged collection, described at the file level by Laura Starratt, 2015. This finding aid may include language that is offensive or harmful. -
For More Than Seventy Years the Horror Film Has
WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.