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An Archaeology of Irish Cinema: Ireland's Subaltern, Migrant and Feminist Film Cultures (1973-87)

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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. In particular I want to thank Pat Brereton, Bany Cannon, Roddy Flynn, Mary Gillan, Debbie Ging, Yvonne Hogan, Peadar Kirby, Barbara O’Connor, Christina Quinlan, Stephanie Rains, Sharon Ryan, Orla Ryan and Brian Trench. I have also been lucky enough to count on the support of many friends and colleagues outside the university, including Sarah Cross, Fiona Fearon, Paula Gilligan, Rhona Henderson, Jackie Malcolm, Carol McGuire, Katy Mullins, Diane Negra, Jessica Scarlata and Sarah Thornton. One of the great pleasures of the past three years has been the opportunity to view a great number of films, and for that I must thank a number of film librarians, archivists and curators. I am especially indebted to Eugene Finn and Sunniva O’Flynn at the Irish Film Archive, and to Ben Cook at the LUX, David Curtis and Michael Maziere at the British Artist’s Film and Video Study Centre, John Harris at the Celest Bartos Film Study Center (MoMA), Declan McKibben and Barbara Durack at RTE, Rebecca Cleman at Electronic Arts Intermix, Janet Moat at the British Film Institute and MM Serra at the Film Maker’s Co-op, New York for their professionalism and interest. The assistance of many librarians, at home and abroad, has also been invaluable. 1 want to particularly thank Margo and the inter-library loan staff at DCU Library and also the staff of the National Irish Visual Arts Library at the National College of Art and Design, the Lecky, Ussher and Berkeley libraries at Trinity College, Dublin and the National Library of Ireland. I would also like to thank Dylan and Mary in the IFC bookshop, for sourcing several indispensable books and videos. This project has drawn directly upon the insights of many practitioners working in the areas of film production, distribution and exhibition and it would not have been possible without their participation. I am particularly grateful to the filmmakers Joe Comerford, Vivienne Dick, Pat Murphy, Thaddeus O’Sullivan and Bob Quinn for sharing their experience with me in interviews. My sincere thanks are also due to Neil Connolly, Maretta Dillon, Steve Dwoskin, Michael Dwyer, Grainne Humphreys, Padraig Mannion, Orlagh Mulcahy, Kevin Rockett and Bob Sloan for providing valuable information on aspects of Irish film culture. I would also like to thank Cliona Harmey for her expert assistance with illustrations, and David Lacey, for sourcing information on Irish music, and Jessica Scarlata, for helping to track down a particularly elusive video. Many other friends in the worlds of film and art practice also shaped this project and in particular 1 want to thank Gerard Byrne, Val Connor, Michelle Deignan, Sinead Dolan, Maire Fanning, Brian Hand, Martin McCabe, Mairead McClean, Paul Rowley and Orla Ryan. Thanks are due also to the many people who provided welcome distractions from research and I am especially grateful to Alan, Maura, Carol, Maire, Cliona, David, Suzanne (and Sam!), Liam and Val, for their friendship over the past three years. Most of all I want to thank my fellow-researcher and friend Stephanie Rains, for much appreciated last minute assistance and boundless good advice and good humour - even in the absence of morning coffee! Finally, I want to express my love and thanks to my mother and to Eithne, Aoife, Sinead, Fiona, Maura, Una, Colm, PJ and Eamon. Your faith in me is greatly appreciated. Dedication This thesis is dedicated to my husband Dennis McNulty, with love for his enthusiasm and his insight, and to my Dad, who always enjoyed a good argument... Table of Contents Abstract x List of Illustrations xi Introduction 1 Critical and Historical Frameworks 2 Selection and Organisation of Material 8 Research Methods and Terminology 12 Synopses of Individual Chapters 15 Chapter One: Museums, Maps and Margins: Irish Film and the Theory of the Avant-garde 18 Introduction 18 The Return of the Avant-garde 21 Mapping the Avant-garde: European and American Traditions 25 Popular Memory, Genre and the Social Formation 30 Peter Bürger’s Theory of the Avant-garde 3 7 Irish Filmmaking at the Intersection of Theory and Practice 41 From the Metropolis to the Margins: Interrogating the Archive 49 The Avant-garde, National Cinema Studies and Irish Film 52 Conclusion: The Archaeology of Irish Cinema 65 Chapter Two: From Film Societies to Festivals: The Inter-National Circulation of Irish Avant-garde Film 68 Introduction 68 Allegories of New Social Relations: Theorising Irish Film Culture 70 Avant-garde and Independent Distribution in the US 72 Film Distribution and the Irish State 76 Critical Contexts: Irish Film Clubs and Societies in the 1970s 80 vi Irish Film and the Production Board of the British Film Institute 86 The State and the Other Cinema(s) 91 Channel Four and Independent Film in Ireland 95 Irish Film and the US Arts Sector 103 Irish Avant-garde Film in the 1980s and 90s: Policy and Practice 106 Exhibiting the National: Festivals of Irish Culture 1.12 A Sense o f Ireland: Archaeology of a Cultural Festival 118 Conclusion: Shifting Structures of Distribution and Exhibition 120 Chapter Three: Between the Subaltern and the State: The Artisanal Practices of Joe Comerford and Bob Quinn 122 Introduction 122 Critical Frameworks and the ‘subaltern’ 127 Between the Subaltern and the State 133 The Production and Reception of Caoineadh Airt Ui Laoire 136 Diverse Strategies: Emtigon, Withdrawal and Down the Comer 143 Artisanal Practices in Clock, Self-Portrait.., Poitin and Atlantean 152 Subaltern Histories and Popular Memory 159 Impaired Speech in Traveller. Language, Voice and Identity 165 In and Out of Sync: Waterbag, Reefer and the Model and Budawanny 170 Conclusion: An Esperanto of the Eye? 179 Chapter Four: Modernism(s) and Migrant Subjectivities: The Films of Vivienne Dick and Thaddeus O’Sullivan 182 Introduction 182 Modernism, the Co-op Movements and the Avant-garde 185 Vivienne Dick and No Wave Cinema 188 Liberty’s Booty: Myth and McDonalds 197 Migrant Subjectivities: Flanagan, A Pint o f Plain, News From Home 202 The Backward Look: On A Paving Stone Mounted, Visibility Moderate 209 Displacement, Autobiography and Performativity in Migrant Cinemas 215 vn Irish Film Culture and the ‘Poetic’ Avant-garde 218 Interrogating Irish Visuality 222 Narrative, Genre and the Irish Landscape 228 Conclusion: Diverse Trajectories 234 Chapter Five: Feminism, History and Narrative: Theorising the Spectator in the films of Pat Murphy 239 Introduction 239 Journeys To and From Belfast: Pat Murphy’s Education as Filmmaker 240 Inside/Outside: The Artist and the Spectator in Maeve 244 Maeve and the Melodramatic Mode of Address 246 The Distribution and Reception of Maeve 252 Redefining Pleasure: Feminist Film in the Late 70s and Early 80s 255 Anne Devlin: Inside and Outside History 265 Feminism and the Emergence of Irish National Cinema 271 Tableaux Vivants and Excessive Female Bodies in ‘Literary’ Film 277 Nora: Beyond Historical Spectacle 281 Conclusion: Making the National Collective 294 Conclusion 297 Summary of Findings 297 New Contexts of Production and Reception 302 Continuity and Change: Developments in Practice since 1987 309 An Avant-garde for the 90s and Beyond 315 Possibilities for Further Research 325 Works Cited 327 Bibliography 327 Selected Bibliography: Joe Comerford 354 Selected Bibliography:Vivienne Dick 355 viii Selected Bibliography: Pat Murphy 356 Selected Bibliography: Thaddeus O’Sullivan 358 Selected Bibliography: Bob Quinn 358 List of Research Interviews 359 Archives of Print Materials 360 Filmography 361 Film and Video Collections Consulted 361 Fi 1 mo graphy : Joe Co merfo rd 361 Filmography: Vivienne Dick 361 Filmography: Pat Murphy 362 Filmography: Thaddeus O'Sullivan 362 Filmography: Bob Quinn 363 Film/Video/Artworks Cited: Irish and Irish-related 364 Film/Video/Artworks Cited: International 368 IX Abstract Maeve Connolly, An Archaeology of Irish Cinema: Ireland’s Subaltern, Migrant and Feminist Film Cultures (1973-87) This thesis examines the development of an Irish film avant-garde, from the mid 1970s to the late 1980s. The thesis argues that this period was marked by an historically specific intersection between Irish and international film cultures, which can be traced through contemporary film theory, cultural policy and critical practice.
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