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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. -
28Th GALWAY FILM FLEADH 5-10 JULY 2016
#filmfleadh 28th GALWAY FILM FLEADH 5-10 JULY 2016 TOWN HALL THEATRE, COURTHOUSE SQUARE, GALWAY www.galwayfilmfleadh.com · booking 091 569777 The Arts Council proudly supports film festivals to put audiences in the frame. 28th Galway Film Fleadh 5 – 10 July 2016 We would like to thank the following organisations for their support: Principal Funder Major Sponsors In Association with Supported by booking 091 569777 1 5 – 10 July 2016 Galway Film Fleadh From Sundance to the Galway Film Fleadh… Celebrating Irish Film all over the world A Date for Mad Mary Mom and Me Lost in France Crash and Burn The Young Offenders Bobby Sands: 66 Days Tiger Raid The Land of the Enlightened Moon Dogs www.irishfilmboard.ie 2 www.galwayfilmfleadh.com 28th Galway Film Fleadh 5 – 10 July 2016 Introduction Contents It’s that time of year again, and we are excited to once more showcase Galway as the beating heart of cinema in Ireland. or one week in the summer the entire Irish film industry descends on our Sponsors 1 “Cannes on the Corrib”, alongside filmmakers, talent, financiers and more Introduction 3 Ffrom every corner of the world. They share ideas, collaborate and watch Booking & Merchandise Info 5 films in the uniquely welcoming, intimate and informal atmosphere that only Galway Film Fleadh Map 5 a Galway festival experience could provide. More important, however, are our Day by Day Schedule 6 audiences which come from Galway, all over Ireland, and from almost every Panel Discussions 9 point of the globe, to see the best in new Irish and world cinema. -
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. -
"The Given Note": Traditional Music and Modern Irish Poetry
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "The Given Note": traditional music and modern Irish poetry Author(s) Crosson, Seán Publication Date 2008 Publication Crosson, Seán. (2008). "The Given Note": Traditional Music Information and Modern Irish Poetry, by Seán Crosson. Newcastle: Cambridge Scholars Publishing. Publisher Cambridge Scholars Publishing Link to publisher's http://www.cambridgescholars.com/the-given-note-25 version Item record http://hdl.handle.net/10379/6060 Downloaded 2021-09-26T13:34:31Z Some rights reserved. For more information, please see the item record link above. "The Given Note" "The Given Note": Traditional Music and Modern Irish Poetry By Seán Crosson Cambridge Scholars Publishing "The Given Note": Traditional Music and Modern Irish Poetry, by Seán Crosson This book first published 2008 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2008 by Seán Crosson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-84718-569-X, ISBN (13): 9781847185693 Do m’Athair agus mo Mháthair TABLE OF CONTENTS Acknowledgements ................................................................................. -
Annual Report 2011 Annual Report 2011
Annual Report 2011 Annual Report 2011 Mission, Vision and Core Values 3 TG4’s Commitments for 2011 5 Key TG4 Performance Highlights of 2011 11 The Board of Teilifís na Gaeilge and Other Information 23 Chairman’s Report 24 Director General’s Report 26 Corporate Governance 31 Finance Review 2011 33 Financial Statements 35 Mission, Vision and Core Values TG4’s mission is to provide an attractive and TG4 Core Values ‘‘TG4 has been innovative television and content service in arguably the finest Irish, that celebrates Irish creativity and Connection: Irish network since it identity — language, culture, music and sport, G To provide a daily link for the Irish language started up. Hand on packaged and presented to be accessible and to every household in the country. heart, I wrote appealing in order to connect to audiences in G To put our audiences at the centre of every- Ireland and worldwide. thing we do. negatively about it TG4’s vision is “to continue to promote G To offer an alternative viewpoint on national from the get-go successfully the Irish language and culture and international affairs. and was quite using television and web content so as to Quality and Value-for-Money: comprehensively ensure a central place in Irish people’s lives, G To provide a high quality programme proved wrong .’ ’ both in Ireland and abroad”. schedule. Irish Independent Review While TG4’s vision and mission set out what G To operate a cost effective and efficient 13/08/2011 the organisation will achieve and the strat- structure. egies it will use to deliver on its public service Creativity: objectives, TG4’s values influence the way in G which they will be achieved, the manner in To be creative in our output and everything which it works with its key stakeholders and we do. -
IRISH FILM and TELEVISION - 2015 the Year in Review
Estudios Irlandeses, Number 11, 2016, pp. 275-320 ____________________________________________________________________________________________ AEDEI IRISH FILM AND TELEVISION - 2015 The Year in Review Roddy Flynn, Tony Tracy (eds.) Copyright (c) 2015 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the authors and journal are properly cited and no fee is charged for access. The Irish Are Coming: Irish Film and Television in 2015 Roddy Flynn and Tony Tracy ............................................................................................ 276 The Canal (Ivan Kavanagh 2014) Ciara Barrett ....................................................................................................................... 282 Brooklyn (John Crowley 2015) Pat Brereton ........................................................................................................................ 285 Swan Song: Lamenting Ireland’s Traditional Past in Song of the Sea (Tomm Moore 2014) Liam Burke ......................................................................................................................... 288 The Making of a Western in Conamara: An Klondike (Dathai Keane 2015) Sean Crosson ...................................................................................................................... 292 Sentimentality and “Difficult” Art in Room (Lenny Abrahamson 2015) Eileen Culloty .................................................................................................................... -
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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. -
The Identity of an Irish Cinema Dr
The identity of an Irish cinema Dr. Harvey O’Brien 2nd, revised edition, 2006. Introduction When Jim Sheridan’s My Left Foot (1989) collected the second of its two statuettes at the Academy Awards ceremony in Los Angeles in 1990, Daniel Day-Lewis remarked that the voters had given him the makings of one hell of a night out in Dublin. He was right. The success of My Left Foot was an ironic triumph for an Irish film industry which had seemed crushed and beaten. The closure of the Irish Film Board just three years before was largely seen as the death knell of a cinema which had begun to make halting steps towards the regular production of features. Some of the films produced during the seven years of operation of the Board, such as Neil Jordan’s Angel (1982), Pat Murphy’s Anne Devlin (1984), and Joe Comerford’s Reefer and the Model (1987) had demonstrated a distinctive perspective. They signaled that something important was happening in Irish cinema after years of obscurity in the shadow of Irish literature. Unique artistic voices had begun to find expression, crafting filmic images as vivid and memorable as those of poets and novelists and addressing themes as expansive and provocative as any before them. My Left Foot, Jim Sheridan, 1989. In fact, My Left Foot, a biographical drama made in the classic Hollywood style, would have seemed an unlikely saviour for the Irish film industry, which had struggled throughout the 1970s and 1980s to establish a sense of identity which was definitively anti-classical. -
1 Degeneration Gap Bob Quinn There Is a Rule of Thumb Which Says That
1 Degeneration Gap Bob Quinn There is a rule of thumb which says that whoever can write a personal cheque for a million is a rogue and a thief. Another rule states that whoever can’t is a loser. Are these also the ground rules for film? That nothing counts, not family or tribe, flag or country, not love or hatred, good or evil, only The Movie and the proof of its existence: money. The latter certainly brings clarity, melts the elements of talent, creativity and ethics into one useful solvent: corruptibility. How fares the film maker’s canvas in the Irish microcosm of this western experiment? Are actors now only people who aspire to do commercials? Are novelists defined only as those who produce clit-lit? Are writers really people who manufacture soap opera dialogue on a piecework basis? Is everybody actually working on a film script? I know that producers manqué make deals, accountants and lawyers sense spare fat and move in. But must directors sublimate their imagination to technique? Are film editors allowed an attention spell of but three seconds max? Is the real subplot a comfortable life? Yes, film schools teach words like semiotics to get their cut from wannabe’s and film boards offer money for dressing short film mutton up as if it were expensive lamb. It is certain that the keeper of new certainties, the marketeer, makes silk purses out of sows ears and that the tabloidisation of all media reinforces the illusion. But do we really need more moolah, must the global fundamentalists control the supply, must good cinema die? And so on and so forth, blah, blah, blah. -
Irish Film and Television As Gaeilge in 2007
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title From Kings to Cáca Mílis: Irish film and television as Gaeilge in 2007 Author(s) Crosson, Seán Publication Date 2007 Publication Crosson S. (2007). From Kings to Cáca Mílis: Irish film and Information television as Gaeilge in 2007, "Estudios Irlandeses: Journal of Irish Studies", Issue 3, 217-222. Item record http://hdl.handle.net/10379/621 Downloaded 2021-09-25T17:45:00Z Some rights reserved. For more information, please see the item record link above. From Kings to Cáca Mílis: Irish film and television as Gaeilge in 2007. Seán Crosson Without films in Irish all the work done for the language in the schools, on the radio and by voluntary organizations is doomed to ultimate failure no matter how effectively it is done.1 When this statement was made in 1950 in a booklet entitled Films in Irish published by Comhdháil Náisiúnta na Gaeilge (The National Conference for the Irish Language), few could have foreseen the developments subsequently in Irish-language filmmaking. While it would not be until the end of the decade that the first feature length film in Irish was made — the Gael Linn produced documentary Mise Éire (1959) (and almost twenty years further for the first feature length fiction film in Irish — Bob Quinn’s Poitín (1978)) — the past 11 years have seen an impressive increase in the output of Irish language television and filmmaking. That progress notwithstanding, Irish language film and television has, to say the least, had an uneven and indeed precarious existence for much of the twentieth century. -
IRISH FILM and TELEVISION ‐ 2006 the Year in Review Tony Tracy (Ed.) Introduction
Estudios Irlandeses , Number 2, 2007, pp. 251-2 86 __________________________________________________________________________________________ AEDEI IRISH FILM AND TELEVISION ‐ 2006 The Year in Review Tony Tracy (ed.) Introduction ....................................................................................................................................251 Industrial In/Action: The Irish Audiovisual Sector in 2006 Roddy Flynn....................................................................................................................................255 TG 4: Ten Years On Eithne O’Connell ............................................................................................................................258 The Wind that Shakes the Barley Ruth Barton ....................................................................................................................................262 Attack of the Killer Cows! Reading Genre and Context in Isolation Barry Monahan ...............................................................................................................................264 Capital Letters Debbie Ging ...................................................................................................................................267 Once Tony Tracy ....................................................................................................................... 269 Misery, Missed Opportunities and Middletown Jane Ruffino ....................................................................................................................... -
An Archaeology of Irish Cinema: Ireland's Subaltern, Migrant and Feminist Film Cultures (1973-87)
An Archaeology of Irish Cinema: Ireland’s Subaltern, Migrant and Feminist Film Cultures (1973-87) Submission for Doctor of Arts by Maeve Connolly, B.A., M.A. Dublin City University School of Communications Supervisor: Stephanie McBride September 2003 Declaration: / hereby certify that this material, which I now submit fo r assessment on the programme ofstudy leading to the award of a Doctor ofArts is entirely my own work and has not been taken from the work o f others save and to the extent that such work has been cited and acknowledged within the text o f my work. _________________ID No: 50161474 Candidate Acknowledgements My first acknowledgements must go to Irish Research Council for the Humanities and Social Sciences, as this project could not have been completed without the financial assistance provided by the Government of Ireland Scholarship. I must also acknowledge the Dublin City University postgraduate fund, which provided funding for travel to conferences, and I am very grateful to the friends and relatives in the UK and the US who welcomed me into their homes during research trips. I wish to express my sincere gratitude to Stephanie McBride and Luke Gibbons for their guidance as supervisors of this project. They gave me the confidence, and the opportunity, to pursue my interest in research and their support and encouragement has meant a great deal. On a personal level, I very much appreciate the kindness shown by Stephanie and Luke and by Farrel Corcoran, Dolores Gibbons and Des McGuinness at difficult moments over the past three years. Many other individuals helped to enrich my experience of research atDCU, offering much-needed advice and assistance.