Gabriel Byrne Has Made a Career Playing Unsettling Characters
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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. -
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. -
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. -
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 Min)
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 min) Directed by Jim Jarmusch Original Music by Neil Young Cinematography by Robby Müller Johnny Depp...William Blake Gary Farmer...Nobody Crispin Glover...Train Fireman John Hurt...John Scholfield Robert Mitchum...John Dickinson Iggy Pop...Salvatore 'Sally' Jenko Gabriel Byrne...Charlie Dickinson Billy Bob Thornton...Big George Drakoulious Alfred Molina...Trading Post Missionary JIM JARMUSCH (Director) (b. James R. Jarmusch, January 22, 1981 Silence of the North, 1978 The Last Waltz, 1978 Coming 1953 in Akron, Ohio) directed 19 films, including 2013 Only Home, 1975 Shampoo, 1972 Memoirs of a Madam, 1970 The Lovers Left Alive, 2009 The Limits of Control, 2005 Broken Strawberry Statement, and 1967 Go!!! (TV Movie). He has also Flowers, 2003 Coffee and Cigarettes, 1999 Ghost Dog: The Way composed original music for 9 films and television shows: 2012 of the Samurai, 1997 Year of the Horse, 1995 Dead Man, 1991 “Interview” (TV Movie), 2011 Neil Young Journeys, 2008 Night on Earth, 1989 Mystery Train, 1986 Down by Law, 1984 CSNY/Déjà Vu, 2006 Neil Young: Heart of Gold, 2003 Stranger Than Paradise, and 1980 Permanent Vacation. He Greendale, 2003 Live at Vicar St., 1997 Year of the Horse, 1995 wrote the screenplays for all his feature films and also had acting Dead Man, and 1980 Where the Buffalo Roam. In addition to his roles in 10 films: 1996 Sling Blade, 1995 Blue in the Face, 1994 musical contributions, Young produced 7 films (some as Bernard Iron Horsemen, 1992 In the Soup, 1990 The Golden Boat, 1989 Shakey): 2011 Neil Young Journeys, 2006 Neil Young: Heart of Leningrad Cowboys Go America, 1988 Candy Mountain, 1987 Gold, 2003 Greendale, 2003 Live at Vicar St., 2000 Neil Young: Helsinki-Naples All Night Long, 1986 Straight to Hell, and 1984 Silver and Gold, 1997 Year of the Horse, and 1984 Solo Trans. -
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. -
Drama Co- Productions at the BBC and the Trade Relationship with America from the 1970S to the 1990S
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output ’Running a brothel from inside a monastery’: drama co- productions at the BBC and the trade relationship with America from the 1970s to the 1990s http://bbktheses.da.ulcc.ac.uk/56/ Version: Full Version Citation: Das Neves, Sheron Helena Martins (2013) ’Running a brothel from inside a monastery’: drama co-productions at the BBC and the trade relationship with America from the 1970s to the 1990s. MPhil thesis, Birkbeck, University of Lon- don. c 2013 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email BIRKBECK, UNIVERSITY OF LONDON SCHOOL OF ARTS DEPARTMENT OF HISTORY OF ART AND SCREEN MEDIA MPHIL VISUAL ARTS AND MEDIA ‘RUNNING A BROTHEL FROM INSIDE A MONASTERY’: DRAMA CO-PRODUCTIONS AT THE BBC AND THE TRADE RELATIONSHIP WITH AMERICA FROM THE 1970s TO THE 1990s SHERON HELENA MARTINS DAS NEVES I hereby declare that this is my own original work. August 2013 ABSTRACT From the late 1970s on, as competition intensified, British broadcasters searched for new ways to cover the escalating budgets for top-end drama. A common industry practice, overseas co-productions seems the fitting answer for most broadcasters; for the BBC, however, creating programmes that appeal to both national and international markets could mean being in conflict with its public service ethos. Paradoxes will always be at the heart of an institution that, while pressured to be profitable, also carries a deep-rooted disapproval of commercialism. -
IRISH FILM and TELEVISION - 2011 the Year in Review Roddy Flynn, Tony Tracy (Eds.)
Estudios Irlandeses, Number 7, 2012, pp. 201-233 ____________________________________________________________________________________________ AEDEI IRISH FILM AND TELEVISION - 2011 The Year in Review Roddy Flynn, Tony Tracy (eds.) Copyright (c) 2012 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. Irish Film 2011. Introduction Roddy Flynn ............................................................................................................................201 “Not in front of the American”: place, parochialism and linguistic play in John Michael McDonagh’s The Guard Laura Canning .........................................................................................................................206 From Rural Electrification to Rural Pornification: Sensation’s Poetics of Dehumanisation Debbie Ging and Laura Canning .............................................................................................209 Ballymun Lullaby Dennis Murphy ........................................................................................................................213 Ballymun Lullaby: Community Film Goes Mainstream Eileen Leahy ............................................................................................................................216 The Other Side of Sleep Tony Tracy...............................................................................................................................220 -
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. -
Irish Quotes
Irish Quotes No woman should ever be quite accurate about her age. It looks so calculating. Oscar Wilde The old believe everything, the middle-aged suspect everything, the young know everything. Oscar Wilde Peter O’ Toole was once asked what was his favorite Irish food: “My number one choice is Guinness. My number two choice would be Guinness. My number three choice would have to be Guinness.” Peter O'Toole. "A Kerry footballer with an inferiority complex is one who thinks he's just as good as everybody else." - Author John B. Keane The rain drove us into the church - our refuge, our strength, our only dry place...Limerick gained a reputation for piety, but we knew it was only the rain. Frank McCourt "Making peace, I have found, is much harder than making war." - Gerry Adams "The immigrant's heart marches to the beat of two quite different drums, one from the old homeland and the other from the new. The immigrant has to bridge these two worlds, living comfortably in the new and bringing the best of his or her ancient identity and heritage to bear on life in an adopted homeland." - Irish President McAleese I think there's a bit of the devil in everybody. There's a bit of a priest in everybody, too, but I enjoyed playing the devil more. He was more fun. Gabriel Byrne "I spent 90% of my money on women and drink. The rest I wasted." - Soccer star George Best "It is absurd to divide people into good and bad. People are either charming or tedious." Oscar Wilde "We have always found the Irish a bit odd. -
Ellen Falguiere Costume Designer CDG 892 & Local 829 [email protected] (310) 403-3831
Ellen Falguiere Costume Designer CDG 892 & Local 829 [email protected] (310) 403-3831 FEATURE FILMS Horrible Bosses. Asst. Costume Designer. New Line Cinema. Warner Bros. Produced by Brett Ratner. Directed by Seth Gordon. Starring Jennifer Aniston, Kevin Spacey, Colin Farrell, Donald Sutherland and Jason Bateman. The Other Guys. Asst. Costume Designer. Sony Pictures. Produced by Pat Crowley. Directed by Adam McKay. Starring Will Ferrell, Mark Wahlberg, Samual L. Jackson, Dwayne Johnson, Eva Mendes and Michael Keaton. Cougar Hunting. Costume Designer. Aspen Entertainment. Produced and Directed by Robin Blazak. (Indie) Starring Lara Flynn Boyle and Matt Prokop. Mardi Gras: Spring Break. Asst. Costume Designer. Sony Screen Gems. Produced by Zanne Devine. Directed by Phil Dornfeld. Starring Carmen Electra and Josh Gad. City of Your Final Destination. Asst. Costume Designer. Merchant Ivory Productions. Produced by Paul Bradley. Directed by James Ivory. Filmed in Argentina. Starring Anthony Hopkins, Laura Linney and Charolotte Gainsbourg. My Sexiest Year. Costume Designer. Michael Cerenzie Productions. Directed by Howard Himelstein. Period,1970’s (Indie). Starring Harvey Keitel, Frankie Muniz, Amber Valetta and Karolina Kurkova. Superhero Movie. Asst. Costume Designer. The Weinstein Company. Produced by Robert K. Weiss. Directed by Craig Mazin. Starring Drake Bell, Leslie Nielsen and Sarah Paxton. Scary Movie 4. Asst. Costume Designer. Dimension Films. Brad Grey Pictures. Produced by Robert K. Weiss. Directed by David Zucker. Filmed in Vancouver. Starring Anna Faris, Regina Hall and Craig Bierko. Stick It. Asst. Costume Designer. Touchstone Pictures. Produced by Roger Birnbaum. Directed by Jessica Bendinger. Starring Missy Peregrym and Jeff Bridges National Lampoon’s Pledge This! Costume Designer. -
Stranger Than Fiction Documentary Film Festival 25Th-28Th September 2008 Stf 08 Programme 18/08/2008 14:51 Page 2
stf_08_programme 18/08/2008 14:51 Page 1 Stranger Than Fiction Documentary Film Festival 25th-28th September 2008 stf_08_programme 18/08/2008 14:51 Page 2 as the lives of people and will be exploring ‘the pitch’ in a communities around us. series of industry events. Witness the beautiful sleep furiously, a glorious Irish documentary thrives on, celebration of Welsh rural life, buoyed with funding from the so fresh you can almost smell Arts Council, Bord Scannán na the country air. While we hÉireann/the Irish Film Board debate what Europe means to (IFB), RTÉ and TG4. This year’s Introduction us, Corridor#8 sheds a light on programme sees significant the absurdities of life on the new work from the other side of the continent. experienced hands of Alan Jesus Camp and The Order of Gilsenan (I see a Darkness) and Myths explore darker elements Pat Collins (Pilgrim, Gabriel of American life, while Kim Byrne – Stories from Home), Longinotto’s Hold Me Tight, Let alongside films from up and Me Go is a heartbreaking film coming filmmakers such as of hope and despair in Tanya Doyle (House) and Nino England’s education system. Tropiano (Chippers). It’s my great pleasure to Documentary can also give us Like a good box of welcome you to the 7th annual insights into the lives and chocolates, I hope that I have Stranger Than Fiction Festival. thoughts of truly inspirational put together a selection Once again, we are delighted individuals, such as the films which will have something for to offer you an exciting on Patti Smith, Gabriel Byrne, everyone… Enjoy the films, and selection of the best Lee Scratch Perry and for those of you who fancy the documentaries from around Ireland’s godfather of whole box, fair play to you – the world, as well as some of documentary, George Morrison see the box office about the finest Irish films of 2008. -
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.