A Series of Documentaries Looking at Inequality in Ireland Across Health, Wealth and Education
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A Seed Is Sown 1884-1900 (1) Before the GAA from the Earliest Times, The
A Seed is Sown 1884-1900 (1) Before the GAA From the earliest times, the people of Ireland, as of other countries throughout the known world, played ball games'. Games played with a ball and stick can be traced back to pre-Christian times in Greece, Egypt and other countries. In Irish legend, there is a reference to a hurling game as early as the second century B.C., while the Brehon laws of the preChristian era contained a number of provisions relating to hurling. In the Tales of the Red Branch, which cover the period around the time of the birth of Christ, one of the best-known stories is that of the young Setanta, who on his way from his home in Cooley in County Louth to the palace of his uncle, King Conor Mac Nessa, at Eamhain Macha in Armagh, practised with a bronze hurley and a silver ball. On arrival at the palace, he joined the one hundred and fifty boys of noble blood who were being trained there and outhurled them all single-handed. He got his name, Cuchulainn, when he killed the great hound of Culann, which guarded the palace, by driving his hurling ball through the hound's open mouth. From the time of Cuchulainn right up to the end of the eighteenth century hurling flourished throughout the country in spite of attempts made through the Statutes of Kilkenny (1367), the Statute of Galway (1527) and the Sunday Observance Act (1695) to suppress it. Particularly in Munster and some counties of Leinster, it remained strong in the first half of the nineteenth century. -
Independent Productions Annual Report 2020
Independent Productions Annual Report 2020 CONTENTS Introduction 2 The Year in Review: – Television 4 – Radio 16 Other Funding 19 Other Support Activities 20 Corporate Governance 20 Financial and Commissioning Review 21 Independent Accountants’ Report 24 Schedules 25 RTÉ INDEPENDENT PRODUCTIONS ANNUAL REPORT 2020 1 INTRODUCTION From lockdowns to working from home and remote learning due to the Covid-19 pandemic restrictions, 2020 was a challenging year for everyone. As audience needs changed and evolved, RTÉ, together with the independent sector, rose to the challenge to ensure that quality Irish content was produced to inform, educate and entertain. From factual to entertainment, lifestyle, cláracha gaelige, drama, comedy and young people’s, the sector responded to unprecedented changes to daily life in Ireland and across the world to produce relevant and distinctive content. Audiences in Ireland connected with Irish content in increasing numbers across all genres, with RTÉ’s all-day share of TV viewing increasing by 1.7% to 27.2%1. RTÉ delivered 43 of the top 50 programmes on Irish television in 2020, with 14 being produced by the independent sector. Independent productions such as Ireland on Call and RTÉ’s Home School Hub played a pivotal role in meeting new audience needs and complemented News & Current Affairs content across TV, online and radio. As well as creating innovative new content and formats to meet these needs, the independent sector demonstrated great agility by adapting production models to comply with public health advice and restrictions. Series such as Ireland’s Fittest Family and Operation Transformation used best-practice production methods to ensure their safe return to screens, while new programming such as Gardening Together with Diarmuid Gavin, No Place Like Home and Open for Business reflected shifts in audience lifestyle and needs during the pandemic. -
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. -
Newsletter 17Th March 2019
Black Abbey - Fridays of Lent We invite you to join us in the Black Abbey ST CANICE’S PARISH Church on Friday evenings during Lent at 6.00pm for Vespers followed by NEWSLETTER Stations of the Cross 17TH MARCH, 2019 Lent Scripture Reflection Group Each Tuesday during Lent the Adult Faith Development Group are offering a short Praying for those who have died gathering of guided reflection on the Sunday Gospels. Why not make this a part Recently Deceased of your Lenten Journey and join others to reflect on the Word of God? Seamus Campion, Shandon Park St Kieran’s College @ 7.30pm-8.15pm. Tues Nights - Starting Tues 12th March. Anniversaries st Sat 7.30pm Mary Phelan (1 Anniv) St. Mary’s Cathedral Restoration Fund Draw commences in March for 12 Sun 9.30am Paul Tynan Monthly Draws at €10 per month. Card available in Parish Office Sun 10.30am Regina O’Leary Sun 11.30am Nancy Hanrahan Annual Daffodil Coffee Morning in aid of The Irish Cancer Society on Wed 20th Wed 9.15 am Peggy Haide, Joan McGrath and Elizabeth Mazoras March in the City Library from 10am to 1pm Fri. 9.15am Noel O’Keeffe Also remember Bill, Miriam, Margo and Michael Delehanty, Frank Donovan. Cycle against Suicide will visit Kilkenny Sat. 4th May 2019 Become a homestay host Next Weekend Each homestay host provides cyclists with a warm meal, a chance to freshen up, and a bed Sat 7.30pm Kathleen Tynan for the night. Please Contact: 087 8296683 [email protected] Sun 9.30am Margaret Peg Molloy Conference: Citizens of Two Cities: Being Church in the World Today. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Radio Telefís Éireann Annual Report and Group Financial Statements 2007 Radio Telefís Éireann
RADIO TELEFÍS ÉIREANN ANNUAL REPORT AND GROUP FINANCIAL STATEMENTS 2007 RADIO TELEFÍS ÉIREANN Contents Highlights 3 Independent Auditor’s Report 39 Organisation Structure 4 Statement of Accounting Policies 40 What we do 5 Group Income Statement 44 Chairman’s Statement 6 Group and RTÉ Statement of Total Director-General’s Review 7 Recognised Income and Expense 45 Operational Reviews 8 Group Balance Sheet 46 Financial Review 26 Group Cash Flow Statement 47 Authority 30 RTÉ Balance Sheet 48 Executive Board 32 RTÉ Cash Flow Statement 49 Corporate Governance 34 Notes to the Financial Statements 50 Authority Members’ Report 37 Charter 81 Statement of Authority Members’ Other Statistical Information 92 Responsibilities 38 Financial History 95 Radio Telefís Éireann Authority Forty-seventh Annual Report and Group Financial Statements for the 12 months ended 31 December 2007, presented to the Minister for Communications, Energy and Natural Resources pursuant to sections 25 and 26 of the Broadcasting Authority Act, 1960. RTÉ’s vision is to grow the trust of the people of Ireland as it informs, inspires, reflects and enriches their lives. RTÉ’s mission is to: • Nurture and reflect the cultural and regional diversity of all the people of Ireland • Provide distinctive programming and services of the highest quality and ambition, with the emphasis on home production • Inform the Irish public by delivering the best comprehensive independent news service possible • Enable national participation in all major events 2 ANNUAL REPORT & GROUP FINANCIAL STATEMENTS -
Why Donegal Slept: the Development of Gaelic Games in Donegal, 1884-1934
WHY DONEGAL SLEPT: THE DEVELOPMENT OF GAELIC GAMES IN DONEGAL, 1884-1934 CONOR CURRAN B.ED., M.A. THESIS FOR THE DEGREE OF PH.D. THE INTERNATIONAL CENTRE FOR SPORTS HISTORY AND CULTURE AND THE DEPARTMENT OF HISTORICAL AND INTERNATIONAL STUDIES DE MONTFORT UNIVERSITY LEICESTER SUPERVISORS OF RESEARCH: FIRST SUPERVISOR: PROFESSOR MATTHEW TAYLOR SECOND SUPERVISOR: PROFESSOR MIKE CRONIN THIRD SUPERVISOR: PROFESSOR RICHARD HOLT APRIL 2012 i Table of Contents Acknowledgements iii Abbreviations v Abstract vi Introduction 1 Chapter 1 Donegal and society, 1884-1934 27 Chapter 2 Sport in Donegal in the nineteenth century 58 Chapter 3 The failure of the GAA in Donegal, 1884-1905 104 Chapter 4 The development of the GAA in Donegal, 1905-1934 137 Chapter 5 The conflict between the GAA and association football in Donegal, 1905-1934 195 Chapter 6 The social background of the GAA 269 Conclusion 334 Appendices 352 Bibliography 371 ii Acknowledgements As a rather nervous schoolboy goalkeeper at the Ian Rush International soccer tournament in Wales in 1991, I was particularly aware of the fact that I came from a strong Gaelic football area and that there was only one other player from the south/south-west of the county in the Donegal under fourteen and under sixteen squads. In writing this thesis, I hope that I have, in some way, managed to explain the reasons for this cultural diversity. This thesis would not have been written without the assistance of my two supervisors, Professor Mike Cronin and Professor Matthew Taylor. Professor Cronin’s assistance and knowledge has transformed the way I think about history, society and sport while Professor Taylor’s expertise has also made me look at the writing of sports history and the development of society in a different way. -
Week 12 - Day 2
Week 12 - Day 2 Gathering Together by Justin and Amber Paulk For where two or three gather in my name, there I am with them. Matthew 18:20 What a glorious promise from Christ! Come together and He will join you. Whether it’s a happy celebration or a mournful meeting (and certainly all the days in between), how comforting to know that whenever we gather together with others, Christ promises to come along, too. This is what we see in this verse: • God encourages us to gather with others and promises to come alongside our gatherings; • Whenever God is present, so also are His fruits of the spirit including: joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control, and love First dates can be extremely nerve wracking! “What should I wear?” “Does my hair look good?” “Did I put on deodorant?” “Brush my teeth?” “Is there something sticking out my nose?” All these questions and more fill our minds when we go on first dates—and with good reason—because sometimes our first dates leave a whole lot to be desired! This is one FOTP’s married couple’s account of their awkward first date: “Even though we have been married for 19 years, my wife still makes fun of what I wore on our first date. I had on a green Germany national team soccer jersey with purple jeans. Naturally, they were tight-rolled. (Google it!) In hindsight, I was literally repulsive to look at just based on my color combination! I took her to an Italian restaurant where she chose spaghetti as her main entrée. -
Channel 4 Response to Ofcom's Consultation on 'Protecting Participants in TV and Radio Programmes'
Channel 4 response to Ofcom’s consultation on ‘Protecting participants in TV and radio programmes’ Executive Summary • Channel 4 considers that treating contributors to programmes with due care is of paramount importance, separate to and including our responsibilities under the Ofcom Broadcasting Code (“the Code”).1 • Contributor care has for many years been, and continues to remain, a central priority for us. Working with our production partners we develop comprehensive, proactive and robust welfare protocols and processes which are regularly reviewed and updated. • We take a bespoke approach to contributor care, with the type of support given tailored to the individual nature of each situation. In our experience, what constitutes the proper exercise of our duty of care in each programme depends very much on the nature of the programme, and a ‘one size fits all’ or standard template approach is not appropriate. • As such, we welcome Ofcom’s recognition that “different types of participation may raise very different risks of harm to participants.” And that any proposed new rules “need to be flexible enough to work in a range of situations, and to take account of the fact that very different types and levels of care may be necessary.” • Channel 4 recognises that Ofcom, as the broadcast regulator, has an important role to play in ensuring consistent standards in contributor care across the industry and we believe our current approach is aligned with what Ofcom is seeking to deliver • Whilst we agree that it is vital that Ofcom should be able to provide guidance to the industry and to deal effectively with complaints by viewers and contributors, it must do so within the parameters of the authority granted to it by Parliament and with due regard to other rights and duties including the right to freedom of expression as expressed in Article 10 of the European Convention on Human Rights. -
Broadcasting Authority of Ireland Broadcasting Complaint Decisions
Broadcasting Authority of Ireland Broadcasting Complaint Decisions November 2017 Contents BAI Complaints Handling Process...………………………………………………………………………..3 Upheld in Part by the BAI Compliance Committee 57/17: Health Service Executive: WLR FM: Déise Today: 11/04/17…………………………………….4 Rejected by the BAI Compliance Committee 58/13: Mr. Patrick O’Connor: RTÉ One TV: Nationwide: 13/02/13……………………………...…….…9 21/15: Mr. Patrick O’Connor: RTÉ One TV: Nationwide: 15/12/14…………………………….……….14 61/16: Mr. Conor O’Shea: RTÉ One TV: Trailer – ‘Queen of Ireland’: 19/03/16………………...……20 63/16: Mr. Patrick O’Connor: RTÉ One TV: Trailer – ‘Queen of Ireland’: 18/03/16……………….….24 27/17: Mr. Kevin Dolan: RTÉ 2 TV: This is Ireland with Des Bishop: 22/12/16……………………….31 30/17: Mrs. Sharon Cooke: RTÉ One TV: Claire Byrne Live: 16/01/17……………………..…………36 39/17: Ms. Suzanne Gibbons: RTÉ One TV: Claire Byrne Live: 16/01/17………………….…………41 40/17: Animal Heaven Animal Rescue: RTÉ One TV: Claire Byrne Live: 16/01/17………...………..48 55/17: Mr. Conan Doyle: Newstalk: High Noon: 03/05/17………………………………………..……..54 Rejected by the Executive Complaints Forum 07/17: Gardasil Awareness Group: RTÉ Two TV: This is Ireland with Des Bishop: 12/12/16………58 08/17: Gardasil Awareness Group: RTÉ One TV: Prime Time: 24/11/16…………………………..…64 11/17: Dr. David Barnwell: RTÉ Radio One: Today with Seán O’Rourke: 23/01/17………………....69 12/17: Mr. Thomas A. Dowd: RTÉ One TV: The Late Late Show: 16/12/16………………………….72 16/17: Ms. Geraldine Heffernan: TV3: Ireland AM: 24/11/16…………………………………………...75 1 19/17: Mr. -
Scheduling As a Tool of Management in RTÉ Television
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2011-7 Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Arts Management Commons, Business and Corporate Communications Commons, and the Other Film and Media Studies Commons Recommended Citation Murray, A. (2011) Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television. Doctoral Thesis, Technological University Dublin. doi:10.21427/D70307 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral 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 Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray This thesis is submitted to the Dublin Institute of Technology in Candidature for the Degree of Doctor of Philosophy July 2011 School of Media Faculty of Applied Arts Supervisor: Dr. Edward Brennan Abstract Developments in the media industry, notably the increasing commercialisation of broadcasting and deregulation, have combined to create a television system that is now driven primarily by ratings. Public broadcast organisations must adopt novel strategies to survive and compete in this new environment, where they need to combine public service with popularity. In this context, scheduling has emerged as the central management tool, organising production and controlling budgets, and is now the driving force in television. -
Third Interim Report of the Tribunal of Inquiry Into Protected Disclosures Made Under the Protected Disclosures Act 2014 and Certain Other Matters
Third interim report of the tribunal of inquiry into protected disclosures made under the Protected Disclosures Act 2014 and certain other matters Established by the Minister for Justice and Equality under the Tribunals of Inquiry (Evidence) Acts 1921 to 2004, on 17th February 2017 by instrument Chairman: The Honourable Mr Justice Peter Charleton Report on matters dealing with the conduct of the Health Service Executive, the Child and Family Agency (TUSLA), Raidió Teilifís Éireann, Garda Headquarters, and Garda officers concerning Sergeant Maurice McCabe and related matters pursuant to terms of reference (a) to (o) Solicitor to the tribunal: Elizabeth Mullan Registrar to the tribunal: Peter Kavanagh 2 3 4 Contents A note on structure ............................................................................................................. 10 Part 1: Report on the TUSLA file and Sergeant Maurice McCabe .................................... 10 The relevant terms of reference .......................................................................................................... 10 Debate on tribunal reports ................................................................................................................. 13 Jurisdiction and the original allegation by Ms D .................................................................................. 13 Tribunals and gardaí ........................................................................................................................... 13 Quantum of costs and tribunals of