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Ireland (and, the Irish) On Screen

Ireland (and, the Irish) On Screen. Basic Numbers. 4.75M in the Republic, 1.8M in NI (Chicago + LA=6.7m) Republic Demographics: 82% White Irish, other white 9.5%, .7% travelers, 1.4% Black, 2% Asian, %4 other/unspecified 79% of population identifies as Catholic NI 99% White

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Ireland (and, the Irish) On Screen

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  1. Ireland (and, the Irish) On Screen

  2. Basic Numbers • 4.75M in the Republic, 1.8M in NI (Chicago + LA=6.7m) • Republic Demographics: • 82% White Irish, other white 9.5%, .7% travelers, 1.4% Black, 2% Asian, %4 other/unspecified • 79% of population identifies as Catholic • NI • 99% White • 50/50 Protestant/Catholic

  3. What is Irish Identity/Culture? • Gaelic and Catholic (although both have diminished) • Historically linked to Catholic Church • Older Irish or rural often linked to and identify as Catholic • Gaelic more commonly spoken on west coast/rural • Identity and culture the bi-product of history! • Let’s learn a bit about that history with a cartoon • And, another cartoon

  4. About 78k speak Gaelic daily • Gaelic and Irish traditions were banned/outlawed over time by British as part of their colonization of Ireland; mostly in 1800s • Republic has 26 counties; NI has 6 • Republic has a parliamentary democracy • Taoiseach (tee-shaw) is Prime Minister Leo Varadkar, 38 years old, LGBTQ, and Indian • President is Micheal D. Higgins • A short bit on politics here

  5. A bit of Irish History (that we see) • LOOOONG complicated history linked to British colonialism and exploitation • Easter Rising 1916, attack Dublin Castle and take over post office. Proclaim Irish a republic • British executed the rebels, seen in Michael Collins (1996) • Radicalized nationalists/rebels...IRA • War of Independence, 1919-1921 • 1922 Treaty; Irish Free State (oath of allegiance to GB)...Northern Ireland • Civil War ends in 1923, but have North and Republic

  6. More History Bits • Has been geopolitically neutral (wars, etc.) • Emigration in 1840s and throughout history • 1950s, modernization and • The Troubles 1968-1998 • 1990s, globalization, European, economic growth • Celtic Tiger period, 1995-2005ish (immigration) • 2016, #Brexit

  7. Reoccurring Historical/Cultural Bits • Ireland losing its identity? Becoming British? • Loyalists/Unionist (Protestants) • Irish Catholics v. Protestants • Rich v. Poor • Native v. Colonizer/Oppressor • Industrialization

  8. Modern(ish) Ireland • The Story of Ireland: Age of Nations • The European Capitol of Terrorism: Belfast • Part 1 • Part 2 • Part 3 • Part 4

  9. Assignment • Talk to your host families (parents + kids) and ask: • What are their favorite movies and why? • What are their favorite television shows and why? • What do they think about the portrayal of the Irish in Hollywood films and American media?

  10. What does it mean to call something Irish or American?

  11. Factors of National Cinema • County that financed, market forces, gov. support • Film industry structure • Culture expressed in film: language, wardrobe/dress style, location, music, or other aspects of culture displayed • Usually represents a nation and its unique identity, esp. in the face of Hollywood • Does America have a national cinema? • Must ask...Irish cinema or cinema about Ireland? • Is Irish cinema autonomous or internationally made?

  12. The Six Shooter (2004) • Dir. Martin McDonagh • Irish/British famous playwright • Wrote and directed the black comedies In Bruges (2008) and Seven Psychopaths (2012) (both starring Colin Farrell) • Executive producer The Guard (2011), written and directed by his brother, Jim McDonagh (most successful Irish independent film at Irish box office) • Starring Brendan Gleeson and Rúaidhrí Conroy • 2006 Academy Award for Best Live Action Short Film

  13. Just some questions... • How do you think this is an Irish film? • Or....is it? • What does this say about being Irish? • How does it play with stereotypes of Irishness that maybe we’ve seen in the States?

  14. Irish Cinema, a Primer • James Joyce, Volta Theatre in 1909 • Ireland currently has one of the highest per capita cinema attendance rates in world/Europe • Up until 1970s, most “Irish” films were not “Irish” (by Irish filmmakers or companies) • Portrayed as primitive, idyllic, bucolic, short-tempered drunks • Ardmore Studios opens in 1958 in Wicklow • Still open today, and we’re going there! • Braveheart

  15. Primer, Cont’d • Censorship of Film Act, 1923: banned native filmmakers from portraying Ireland internationally (3K banned, 11K cut until the 1980s; after that they started age rating) • IFCO censored sex, violence, blasphemy, abortion, etc. (not just showing, but talking about) • Through “second wave,” a holy trinity of themes: Church, Rural Life, The Troubles • Themes: Irish history, gangsters, romantic comedies, masculinity, but usually dark themes • MANY Irish films are adaptations of books or plays, or books made into plays and then those plays into movies (rich literary/storytelling traditions)

  16. A Lad from Old Ireland (1910) • Dir. Sidney Olcott (Irish American) • First film by US company filmed outside the US • Trying to reach US Irish immigrant population • Story about Irish immigrant/emigrant who goes home • Prod. Kalem Company • Shot nearly 15 films in Ireland in 2-3 years • Sought to build a studio in County Kerry • BLAZING THE TRAIL: The O'Kalems In Ireland

  17. Irish Destiny (1926) • Silent, Irish-made film about the War of Independence (1919-1921) • Dir. Issac Eppel

  18. The Quiet Man(1952) • Dir. John Ford (Irish American) • Produced by Republic Pictures (Viacom) • Starring John Wayne and Maureen O'Hara • Presents an idealized, stereotypical, apolitical Ireland • Shot in County Galway • Authentic setting; authentic?

  19. “Oirish” • Stereotypes perpetuated in media (often American media) • Or stereotypes perpetuated in non-media • Or bad Irish accents by actors • What are some?

  20. “First Wave” or “New Wave” • 1970s through 1980s (Film Act of 1970) • Dirs. Bob Quinn, Pat Murphy and Cathal Black • Exploring social conscious themes using avant garde techniques; countered Irish stereotypes, women's stories etc. • distinctly Irish themes, social issues, and national concerns • Un-Hollywood, unpolished, dark/controversial stories • 1981, IFB is founded to promote a national film industry and on-location shooting • Funds irish films (screenwriting, production, distribution) • Section 481; tax credit to shoot in Ireland and hire Irish crew/cast • IFB disbanded 1987-1993, but came back after Irish films/filmmakers had global, critical success in late 80s/early 90s

  21. Poitín (1978) • Dir./Written by Bob Quinn • Produced by Cinegael, aired on RTE´ TV in 1979 • First feature film all in Gaelic • Counteracted and played on Irish/Ireland stereotypes set forth by foreign filmmakers (romantic, idyllic Ireland...) • Controversial in Ireland

  22. “Second Wave” • Early 1990s through early 2000s • Themes were very “Irish” in terms of history, identity, stories, etc. • More films made in this era than previous 90 years • My Left Foot(1989, Dir. Jim Sheridan) • The Commitments (1991, Dir. Alan Parker) • The Crying Game (1992, Dir. Neil Jordan)

  23. Michael Collins(1996) • Dir. Neil Jordan • Starring Liam Neeson, Stephen Rea, Julia Roberts • Prod. Geffen Films/Warner (10% IFB funding) • Biopic on revolutionary Michael Collins • About Easter Rising, Irish War of Independence, 1922 Treaty, Civil War • Scene shot on South Pier, Dún Laoghaire (1:17) • Shot around Dublin and Ireland; Kilmainham Gaol

  24. Some History Bits • Irish War of Independence, 1919-1921 • Anglo-Irish Treaty, 1921 signed; effective 1922 • Established Irish Free State (the southern 26 counties), dominion of UK (i.e. Canada/AUS) • Northern Ireland part of UK • Republic must have an oath of loyalty to the Crown • “The freedom to achieve freedom”~Mick Collins • Irish Civil War, 1922-1923 • Anti-Treaty IRA (republicans) v. Free State forces led by Collins

  25. The Wind that Shakes the Barley (2006) • Dir. Ken Loach (British director, socialist themes) • Based on Walter Macken's The Scorching Wind (1964) • Starring Cillian Murphy and Pádraic Delaney • Palme d’Or winner at Cannes (2006) • Name comes from a song of the 1798 rebellion • Barley carried by marching rebels as rations

  26. Wind Cont'd • Highest grossing independent Irish film until The Guard (2011) • €6.5 to make €22+ at box offices • Co-production Ireland (IFB), UK, France, Germany, Spain and Switzerland • Benefitted from IFB funding • Set in County Cork (The Rebel County) • Use many locals as talent • Also a scene in Kilmainham • Critiqued for portrayal of British state violence by, umm, the British (or, loyalists)

  27. To think about... • How does Wind relate to some of the history we got in week 1 (Easter Rising, etc.)? • How do films about history become history? • The commodification of history...does it matter? Why? • How could this film be about social revolution rather than nationalist revolution? Changing a flag or the society? • Is the film about war....or? • How does the Anglo-Irish Treaty and guerilla warfare affect average citizens in rural Ireland? • How does this film depict class difference within Ireland? • How is this about British AND Irish behavior?

  28. In the Name of the Father(1993) • Dir. Jim Sheridan • Starring Daniel Day-Lewis, Emma Thompson • Hell's Kitchen Films/Universal • Based on real story of Guildford Four • Irish who are wrongfully jailed in Great Britain • Patriarchy and loyalty to a father • Opening scenes shot in Dublin; mostly in Kilmainham Gaol

  29. The Crying Game (1992) • Dir. Neil Jordan (wrote Oscar-winning screenplay) • Starring Stephen Rea and Forest Whitaker • Themes: nationality, gender, race, and sexuality • Set within The Troubles, not about The Troubles • Based on books that explore kidnapping “relationships” • Initially titles The Soldier's Wife...early 1980s • Co-production between Ireland and UK/Japan • Promoted by Miramax • Opening scenes shot in Laytown, County Meath (1 hour north of Dublin)

  30. The Crying Game Cont'd • $3.6m to make, $68m at box office • Appealed to US market; familiarized audience with Irish/British politics • Part of a chain of films that had broader, Hollywood type appeal • One of the films that led the IFB reformation • Signaled a move to incorporating broader themes into Irish film (that is, beyond Irishness/Irish stories) • Initially bombed (no pun) in Ireland and UK, because of pro-IRA messages

  31. “The movie that everyone’s talking about, but no one is giving away its secrets.” Miramax encouraged and marketed the secret

  32. To Think About • How does this film explore human nature? • What is the subtext of Fergus and Jody's relationship? A metaphor for....? • What is the significance(s) of the Scorpion/Frog story? • What type of genres are explored in this film? How is this done successfully? • Does this film exploit a “trans gaze”? That is, does it challenge norms or reinforce them? • Who's perspective are we placed in: Dil or Fergus? • How is a “love triangle” explored here? What about “roles” or “masks”? How is identity explored as “performance”? • Does the presence of Irish acting talent make a film authentic?

  33. Breakfast on Pluto (2006) • Dir. Neil Jordan • Adapted Patrick McCabe’s book (also adapted The Butcher Boy) • Cillian Murphy, Stephen Rea, Liam Neeson, Brendan Gleeson, Ruth Negga • Takes place in fictional Irish border town: Tyrellin • Focuses on how Kitten changes by example • Combines escapist fantasy with social realism • Fuses Irish identity, culture and history

  34. To Think About • What types of “borders” are addressed here? • Border Knight: “Because the only border that matters is the one between what's in front and what you've left behind. When I ride my hog, you think I'm riding the road? No way, man. I'm traveling from the past into the future with a druid at my back.” • How does this show the clash between Irish modernization and conservatism? • How does Kitten’s quest and path towards identity reflect that of Ireland as a nation? • Is this film about transgender identity in Ireland or Irish identity broadly? Is there a metaphor in this??? • Does this film perpetuate a trans gaze like “The Crying Game”?

  35. Celtic Tiger • 1995ish-2007ish • +9.4% (95-2000), +5.9% (until 2008) • Disposable income doubles (1996-2006) • Tax breaks for corporations, US investment, low wages, EU trade • Wealth inequality • Consumerism and Irish culture? • Emigration to immigration... • GDP +7.8% in ‘17, 5% in ‘16 (US 2.3% in ‘17)

  36. Immigration • +53K in 2017, highest since 2008

  37. Celtic Tiger Cinema • Dealing with more “global” themes, shift from the “holy trinity” of topics • Younger filmmakers, grew up after church censorship...Hollywood/Euro ties • Shows liberal, successful, and urban Ireland • Often rejecting establishing Irishness, less about not being British, uncritical acceptance of globalization and capitalism • Appeal to global (read: American) audiences

  38. Once (2007) • Dir./Written John Carney (Dublin-based, Bachelors Walk, On the Edge, Sing Street) • Starring Glen Hansard (The Frames/ The Commitments) and Markéta Irglová perform as The Swell Season (after the film) • Filmed for $150k and 17-day shoot, no permits, improv, natural light, long lens, but $23m at box office • IFB funded, premiered at Galway Film Fleadh • 2008 Oscar for song “Falling Slowly”

  39. Once Cont'd • Shot in and around Dublin (Grafton Street) • Intended to star Cillian Murphy • Adapted to musical by Enda Walsh (Disco Pigs) • Broadway 2012-2015; in Dublin 2016

  40. To Think About • How is class expressed in this film? • Ethnicity? Express nuances of Celtic Tiger? • Explain why you think this film was a major success, esp. given what we've thematically seen in some Irish cinema? • How does this film show the value of and how to sell music (Irish music, that is)? • How does the lo-fi/non-actors/improv make the film authentic? (or, does it detract?)

  41. Thinking Cont'd • Documentary realism in musical performance? • What about the long shot/lens? Why use it for the talent? • Narratively, what's the symbiosis with the music (musical narrative)? • The ending? What is the essence of their relationship? • How do the themes of equality and peripherality manifest? • Do you believe in their relationship?...you should!

  42. Irish Music • Rich history of music tied Irish identity/culture and industry • Irish preserve this through trad music, even through anglicising • The Celtic harp • From medieval (1000AD) until early 1800s, revived in early 1900s...primacy on melody and stringed instruments • Irish Trad or folk music • Ballads, drinking songs, etc. and then dance music • Has influenced country and American folk music • Has been influenced by UK and American music from 60s on

  43. Irish Music Industry • Contributes €703 million to Irish economy • 13k jobs • IMRO, performance rights organization (like ASCAP or BMI) • Major Irish artists: • Glen Hasnard/The Frames, Thin Lizzy, Enya, Van Morrison, The Cranberries, U2, Hozier, The Dubliners, The Pogues, Flogging Molly, The Script, Sinead O’Connor, Westlife

  44. The Commitments (1991) • Dir. Allen Parker (a Brit) w/ mostly British crew • Fame, Evita, Angela's Ashes, and Pink Floyd: The Wall • Based on 1987 novel by Roddy Doyle (Irish) • Barrytown Trilogy: The Snapper, The Van • Film is co-written by Doyle and two Brits • Set in Northside Dublin: Working class Dubliners meet African American R&B singers/culture (implied meeting) • Cast Dublin musicians and buskers (non-actors) • Co-production: Ireland, UK, US • All songs/vocals recorded on set • Became a cult hit

  45. On shooting in Dublin, Parker said... • "It was our intention at all times to avoid the picture postcard locales traditionally associated with Ireland and show a contemporary, urban world a little different from viridescent, romantic notions normally associated with films about Ireland."

  46. To Think About • How is pre-Celtic Tiger era Irish identity expressed in relation to hierarchies of: • Race? Gender? Class? Age? • How do the gritty locations add to the story arc? • How is class articulated in this film? How is this different than Once? • How does the film deal w/ marginalization? • Did the song's recording/acting give the film authenticity? How is the film about musical authenticity?

  47. To Think Cont’d • What does the film suggest about Dublin culture in the late 1980s? How does this depiction of Dublin subvert “Oirish” depictions? • How is, and isn’t, this an Irish film? • In general, what does it mean for Brits to be telling stories about Irish? Is this a form of colonization, still? • What significance is Jimmy Rabbitte’s comment that Irish are the blacks of Europe, Dubliners the blacks of Ireland, and northside Dubliners the blacks of Dublin?

  48. Good Vibrations (2013) • Dirs. Lisa Barros D’Sa (Belfast) and Glenn Leyburn (NI): Cherrybomb • Written by Glenn Patterson (Belfast novelist) and Colin Carberry • Mostly NI cast • Biopic on Terri Hooley starring Richard Dormer • Shop closed 2015 • Alt. Narrative set against The Troubles • Galway Film Fleadh Audience Award • Music in film from the GV record label and other Northern Irish bands

  49. To Think About • How is power of music and how it can bridge barriers shown? Esp. during hard times? • In what ways does the music inform the narrative? Compare to other films we’ve seen. • How does the film show an alternative story of NI/Belfast compared to the Vice doc we saw day 1? An “alternative Ulster”?

  50. Thinking Cont’d • How does the violence of The Troubles interact with the main story? How does the archival footage help create a punk aesthetic? • How does the film's visual aesthetics (light, color, mis en scene) authentically re-create the 70s? • What elements of this film make it to appeal to people outside of Northern Ireland?

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