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Irish Travellers, the Cinema and (Anti-)Traveller Racism
GRUNERT FILM JOURNAL 1 (2010) Between discrimination and glorification: Irish Travellers, the cinema and (anti-)Traveller racism Andrea GRUNERT University of Applied Sciences, Bochum, Germany “There’s a bit of a Traveller in everybody of us,” says John Riley, the male protagonist in Mike Newell’s Into the West (UK/IRL, 1992), to his twelve-year-old son Tito, who has asked him whether the Travellers are Cowboys or Indians. This evasive answer is matched by the film’s happy ending, which masks the fact that the film presents the Travellers as Ireland’s Indians: an excluded and forgotten minority living on the social margins. Today an estimated 23,000 Travellers live in the Republic of Ireland, 15,000 in Great Britain and 7,000 in the United States of America. Their Irish origins have been the object of speculation. Some writers trace them back to landowners made homeless during Cromwell’s campaign in Ireland or during the Great Famine of the mid-nineteenth century; others argue that Travellers have dwelt in Ireland since the Middle Ages. These nomads have their roots in Ireland and must be distinguished from Gypsies, even if they share many similar customs. In the past, they played an important role as messengers in isolated rural areas. The term “tinker,” which today has negative connotations, refers to one of their main occupations, tinkering. Industrialisation and modern technology have destroyed this economic basis of their life. Having been forced to adapt to new social Page 1 GRUNERT FILM JOURNAL 1 (2010) and economic conditions, Irish Travellers or Pavee1, as they now call themselves, have found new occupations such as collecting scrap. -
Writing the History of Women's Programming at Telifís Éireann: A
Alphaville: Journal of Film and Screen Media no. 20, 2020, pp. 38–53 DOI: https://doi.org/10.33178/alpha.20.04 Writing the History of Women’s Programming at Telifís Éireann: A Case Study of Home for Tea Morgan Wait Abstract: The history of women’s programming at the Irish television station Teilifís Éireann has long been neglected within the historiography of Irish television. Seminal studies within the field have focused quite specifically on the institutional history of the Irish station and have not paid much attention to programming. This is particularly true in regard to women’s programmes. This paper addresses this gap in the literature by demonstrating a methodological approach for reconstructing this lost segment of programming using the example of Home for Tea, a women’s magazine programme that ran on TÉ from 1964 to 1966. It was the network’s flagship women’s programme during this period but is completely absent from within the scholarship on Irish television. Drawing on the international literature on the history of women’s programmes this paper utilises press sources to reconstruct the Home for Tea’s content and discourse around it. It argues that, though Home for Tea has been neglected, a reconstruction of the programme illuminates wider themes of the everyday at Teilifís Éireann, such as a middle-class bias and the treatment of its actors. As such, its reconstruction, and that of other similar programmes, are exceptionally important in moving towards a more holistic history of the Irish station. In 1964, a woman from Rush wrote to the RTV Guide with a complaint about Irish national broadcaster Telifís Éireann’s schedule. -
Santa's Grotto
Millennium Ballymun Town Centre Clothing Ballymun’s Own Drapery Store Sportswear Men’s ladies & children’s tracksuits, tops & shorts Gents Tracksuits Jackets, boxers, socks, shirts, jeans, • Rolls and sandwiches made all combats day, rolls baked fresh in shop 66 Joseph Plunkett Tower Ladies Tracksuits Ballymun, Dublin 11 • Full Deli and sandwich bar Tops, jeans, bottoms, underwear, Tel: 8425174 / 087-6724107 • A range of minerals, biscuits, jackets, twin sets, bras [email protected] confectionery and important grocery Items Childrens Tracksuits • Variety of stationery and T-shirts, frilly socks, underwear, school equipment. Page 2 Page 3 Page 6 Page 7 fleeces, body warmers Lot’s of Christmas novelties, Open Mon – Sat chocolates, buscuits and 9.30am – 6pm GREAT many other goods Thursday Late night until 8pm PRICES ! Leap for charity Riordans to Hollywood Community law centre Forum Elections Merry Christmas to all our Customers Happy Christmas Volume 3 Issue 3 Positive News for the Greater Ballymun / Poppintree Area Nov 29th – Dec 31st 2000 Merry ‘Full Time’ Christmas to all our Cascarino readers Secondary school students met former Irish International soccer star Tony Cascarino, when he visited the Ballymun Senior Comprehensive school recently. As part of their transi- Exclusive interview and SHARON’S RESTAURANT & TAKE AWAY Ballymun Shopping Centre tion year, the students photos by Seamus Kelly received the surprise the playing fields at his local treat when Tony walked school. into the school library. Quality food He is currently doing a “I was born in Orpington Kent promotion on his book England, I played football in ‘Full Time, the secret life the playing fields at my school. -
Maple and Shamrock: Seeking a Strategy for Survival in the Audiovisual Jungle
Maple and Shamrock: seeking a strategy for survival in the audiovisual jungle. Colum Kenny Context Attempting to assess what the future might hold for Irish broadcasters and producers, especially in the light of digital and multimedia developments and of increasing competition, I recently paid a visit to Ontario and Quebec, two adjacent provinces of Canada. It is a country where audiovisual matters have long been taken seriously. Canada's proximity to the U.S. 'elephant', as that neighbour is sometimes known, concentrates the northern state's collective mind on survival strategies. Previous trips to Canada, including attendance at the Toronto Film Festival and participation as a guest in the Banff Television Festival in Alberta, had induced in the author an admiration for the practical ways in which Canadians have responded to audiovisual challenges. In contrast, Irish broadcasting developments have been stunted by bad planning and poor preparation and marked by an absence of clear strategic focus. Policy has been eschewed in favour of politics and opportunities to build up the kind of audiovisual sector we might have had have been lost. It was at Ottawa, in September 1948, that a visiting Taoiseach, John A. Costello, proclaimed for the first time his own government's intention of declaring Ireland a republic. His successors might consider another visit, specifically to see how a relatively small country can articulate successfully an elaborate media policy. Canada enjoys a remarkably sophisticated system of regulation, licensing and support which manages to keep scores of television stations and hundreds of radio services on the air in a country of under 30 million people. -
Cultural and Structural Change in Irish Television Drama
Irish Communication Review Volume 8 Issue 1 Article 1 January 2000 Cultural and Structural Change in Irish Television Drama Edward Brennan Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/icr Part of the Communication Technology and New Media Commons Recommended Citation Brennan, Edward (2000) "Cultural and Structural Change in Irish Television Drama," Irish Communication Review: Vol. 8: Iss. 1, Article 1. doi:10.21427/D79Q7W Available at: https://arrow.tudublin.ie/icr/vol8/iss1/1 This Article is brought to you for free and open access by the Current Publications at ARROW@TU Dublin. It has been accepted for inclusion in Irish Communication Review by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License IRISH COMMUNICATIONS REVIEW VOL 8 2000 Edward Brennan is a Cultural and Structural Change in PhD candidate in the Department of Irish Television Drama Sociology, University College Dublin. Edward Brennan A dominant ideology in RTÉ? According to Devereux (1998), RTÉ drama, and RTÉ television in general, excludes 1. Glenroe is a long society’s powerless. This is, in his view, a result of the ideology of RTÉ drama producers. running soap opera set in Devereux’s research on RTÉ drama concentrates on Glenroe1. It states that Glenroe fails a small rural community to represent adequately those who are marginalised in Irish society. In passing, within Dublin’s hinterland. It is unusual in that it has Devereux mentions some material and organisational constraints which may help to continuity in characters, explain why this is so. -
Irish Television Drama: a Society and Its Stories
Irish Television Drama: A Society and Its Stories Helena Sheehan published by Radio Telefís Éireann in 1987 2nd (revised) edition published in 2004 ISBN 0 86029 011 5 pb ISBN 0 86029 012 3 hb © Helena Sheehan Professor Helena Sheehan website: http://webpages.dcu.ie/~sheehanh/sheehan.htm e-mail: [email protected] Table of Contents Introduction Part 1: Concepts / Contexts / Criteria Chapter 1: Story, Myth, Dream and Drama Chapter 2: Television as a Medium of Drama Chapter 3: Judgments of Television Drama Part 2: The Evolution of Irish Television Drama Chapter 4: The 60s: The Coming of Television Chapter 5: The 70s: Progress, Pressures and Protests Chapter 6: The 80s: The Satellite Era Appendix: RTE Television Drama Productions 1962-1987 Titles index Introduction This is essentially a story about storytelling. It is, first of all, an account of why people tell stories. It is an exploration of what has been at stake in the whole, long and complex history of storytelling, stretching from the voices of the ancient bards to the signals of space age satellites. It is, in the second instance, a story about why particular people have told particular stories at a particular time in the history of a particular society. The Irish people have always been renowned as storytellers. This is the story of Irish storytelling in the television era. Although storytelling would seem to be a universal activity, fundamental to the human condition, it has by no means been a static one. It has not been the same for all times. It is an activity that has undergone enormous transformations. -
Cultural and Structural Change in Irish
IRISH COMMUNICATIONS REVIEW VOL 8 2000 Edward Brennan is a Cultural and Structural Change in PhD candidate in the Department of Irish Television Drama Sociology, University College Dublin. Edward Brennan A dominant ideology in RTÉ? According to Devereux (1998), RTÉ drama, and RTÉ television in general, excludes 1. Glenroe is a long society’s powerless. This is, in his view, a result of the ideology of RTÉ drama producers. running soap opera set in Devereux’s research on RTÉ drama concentrates on Glenroe1. It states that Glenroe fails a small rural community to represent adequately those who are marginalised in Irish society. In passing, within Dublin’s hinterland. It is unusual in that it has Devereux mentions some material and organisational constraints which may help to continuity in characters, explain why this is so. However, disregarding these constraints, he argues that the families and so on from ideology of RTÉ producers is the real reason for the exclusion of society's powerless from two preceding soap operas, The Riordans and Bracken. television drama: The limitations and possibilities of Glenroe all boil down to the kinds of decisions made amongst the programmes makers. There is no real reason other than perhaps an ideological one which is preventing the series from placing either a traveller or unemployed character at the centre of the programme… (Devereux, 1998: 124). In his conclusion, the financial difficulties faced by RTÉ merely occupy the background and do not explain the ‘ideological decisions’ made by RTÉ producers (Devereux, 1998: 146). RTÉ television is described as ideological, that is, it ‘facilitates… the continuation of capitalism’ (1998:146). -
Night Tocelebrate Reading
the F IRST ANNU A L Night to Celebrate Reading Thursday, November 19, from 7-9 pm 8 8 the PS8 PTA o PROUDLY Umbrage Gallery, 111 Front Street, N 208, DUMBO PRESENTS GA BRIEL JA MES BYRNE is an Irish actor, film director, film producer, writer, and audiobook narrator. His acting career began in the Focus Theatre before he joined London’s Royal Court Theatre in 1979. Byrne’s screen début came in the Irish soap opera The Riordans and the spin-off show Bracken. The actor has now starred in over 35 feature films, such as The Usual Suspects, Miller’s Crossing and Stigmata, in addition to writing two. Byrne’s producing credits include the Academy Award-nominated In the Name of the Father. Currently, he is receiving much critical acclaim for his role as Dr. Paul Weston in the HBO drama In Treatment. In November 2004, Byrne was appointed a UNICEF Ireland Ambassador. He received the Honorary Patronage of the University Philosophi- cal Society, of Trinity College, Dublin on February 20, 2007. He was awarded an honorary degree in late 2007 by the National University of Ireland, Galway, in recognition of Byrne’s “outstanding contribution to Irish and international film.” 8 Reading Begins, Part I, 7 to 8 PM 8 TA D FRIEND will read from his memoir, Cheerful Money: Me, My Family, and the Last Days of Wasp Splendor. Friend grew up in Buffalo, NY, and Swarthmore, PA (his father was the president of the college), went to Harvard and got a job at Steve Brill’s The American Lawyer out of school. -
Global / Local Film: Working Papers from the 2014 Dalhousie – Sorbonne Nouvelle Summer Institute in Film Studies
Global / Local Film: Working Papers from the 2014 Dalhousie – Sorbonne Nouvelle Summer Institute in Film Studies Le cinéma entre le global et le local: Papiers de travail de l’Institute d’été 2014 d’études cinématographiques Dalhousie – Sorbonne Nouvelle Published in 2015 by Centre for European Studies 1376 LeMarchant Street Dalhousie University Table of Contents / Table des matières Halifax, Nova Scotia B3H 4P9 Canada Avant-propos / Introduction ..................................................... 6 Copyright © Individual Contributors Donna de Ville (Concordia University) Cover image from the film Nostalgia de la luz (2010) Joanie 4 Jackie: A Challenge, a Promise, ISBN 978-0-7703-0124-8 an Archive of Invisibility ........................................................ 11 Printed in Canada Raphaëlle Moine (Université de Paris 3 – Sorbonne Nouvelle) Global/national/local et films de genre : l’exemple du cinéma français populaire contemporain................................. 41 Conall Ó Duibhir (University College Dublin) Guth Gafa: Local and Global Perspectives of a Rural Film Festival ................................................................. 65 Centre for European Studies Fountain School of Performing Arts Emmanuel Siety (Université de Paris 3 – Sorbonne Nouvelle) Le monde dans une coquille de noix: l’utopie et après ............ 87 Jerry White (Dalhousie University) Towards a Minor Vérité ........................................................ 109 Abstracts/Résumés ............................................................... -
Film and Film-Making in Waterford
FILM AND FILM-MAKING IN WATERFORD PRELIMINARY STUDIES DONALD BRADY © Waterford County Council FFFiiilllmmm aaannnddd FFFiiilllmmm---mmmaaakkkiiinnnggg iiinnn WWWaaattteeerrrfffooorrrddd PPPrrreeellliiimmmiiinnnaaarrryyy ssstttuuudddiiieeesss WWWÉÇtÄwÉÉÇÇttÄÄww UUUÜtwçÜÜttwwçç 22nd October 2009 FFFiiilllmmm aaannnddd FFFiiilllmmm---mmmaaakkkiiinnnggg iiinnn WWWaaattteeerrrfffooorrrddd PPPrrreeellliiimmmiiinnnaaarrryyy ssstttuuudddiiieeesss111 Background The development of film making from its inception as a newsreel medium to fully-fledged feature film making and inevitably to its acceptance as an acknowledged art form was rapid, successful and indeed spectacular. The response from the public was immediate and so remarkable that within a very short time a new and extremely successful Movie Theatre Business was developed with enormous cinemas built to house the insatiable demand. In Ireland the response was no less remarkable. On the 17th of April 1896 the Freeman’s Journal carried the following notice: “Dan Lowrey’s Star of Erin Theatre or Varieties (now the Olympia) announced ‘the world’s most scientific invention: The greatest, most amazing and grandest novelty ever presented in Dublin: The Cinématographe.’”2 and only three days later cinema arrived in Ireland. The first purpose built theatre, the Volta was opened in 1909. Very early filming was made in 1907 when a journey from “London to Killarney” was produced which included some shots of the journey from Waterford to Wexford. During the filming of this newsreel short features were made as interludes including “Irish wives and husbands” which is “probably the first fiction film made in Ireland…”3 The first excursion by American film-makers occurred when the Kalem Company commissioned Sidney Olcott to produce some European based features and he chose Ireland because his mother was from Dublin. -
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 ....................................................................................................................... -
Soap Opera and Social Order: Glenroe, Fair City and Contemporary Ireland
Soap Opera and Social Order: Glenroe, Fair City and Contemporary Ireland Dr Helena Sheehan paper given at IMAGINING IRELAND conference at the Irish Film Centre on 31 October 1993 ABSTRACT: Biddy, Bella and the big issues of the day How far can contemporary Ireland recognise itself in Glenroe and Fair City? To what extent do its characters, settings and storylines testify to the temper of the times? What relation do these serials bear to the lives we lead? This paper will look at Ireland's two currently running television serials in terms of the larger pattern of social experience. It will query both the presences and the absences in their representation of contemporary Ireland. It will explore the soap opera form in terms of its potential for imagining Ireland in a more expansive and penetrating fashion. It will draw strong conclusions about the failure of existing serials to fulfill this potential. Soap Opera and Social Order What is the relation between soap operas and the social order in which they are set and seen? To what extent is it possible to trace the temper of the times in television serials? Television soap operas came into the world and into my own life in America in the 1950s. It was my mother and not me who was their target audience, but I saw as much of them as school holidays and parental indulgence would allow. They were utterly addictive. Women would organise their days around their ‘stories’ and they became an essential ritual of everyday life. These stories were meant to be about ordinary lives of ordinary people in ordinary towns of the time, although it was extraordinary how many affairs, surprise appearances and disappearances, exotic diseases, afflictions of amnesia, murders, kidnappings and frauds befell such a small number of characters in such small towns.