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Finding a voice in Irish Film

Finding a voice in Irish Film. National identity and the commercial imperative Is there a crisis of representation in Irish cinema? Celtic Tiger Renaissance in film Urban based generic Hollywood product How do all these changes affect the authentic ‘voice’ of Irish film?.

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Finding a voice in Irish Film

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  1. Finding a voice in Irish Film • National identity and the commercial imperative • Is there a crisis of representation in Irish cinema? • Celtic Tiger Renaissance in film • Urban based generic Hollywood product • How do all these changes affect the authentic ‘voice’ of Irish film?

  2. Angela’s Ashes (1999) • ‘Poverty-chic’ preoccupation in Frank McCourt’s best selling novel • Historical melodrama and Irish identity • Appealing to the Irish Diaspora • Limerick –’raining all the time’! • Why such narratives appear so dated now?

  3. The Commitments

  4. The Commitments (1991) • Roddy Doyle’s working class heroes • “They had nothing, but they were willing to risk it all” • the “blacks of Ireland” resonates for many • Feel good stories that use local vernacular • Are we laughing at, and/or with them? • ‘aestheticisation and fetishisation of failure’

  5. About Adam (1999) – a new city space • A long way from Dublin as Strumpet City? • ‘Celtic Tiger’ and space for promiscuous sexual abandon! • Transglobal ‘cool’ and a city of conspicuous consumption! • Smug complacency: ‘the social problems that global consumerism throws up cannot simply be imagined out of existence’ [McLoone]

  6. Adam and Paul

  7. Adam and Paul (2004) • A day in the life of two heroin addicts • Ulysses-like journey around the city • Beckett-like nihilistic critique of existence • Visual humour reminiscent of “Laurel and Hardy”. • Alienating voyeurism versus sentimental identification.

  8. Busting the Boom: The Tiger’s Tail • Fault-lines in economy including the prospect of a property crash • Boorman’s film remains more sombre and pessimistic at the outset, compared with many other Irish films • Commercially and critically nsuccessful, due to a poorly developed script, which remains a recurring weakness within much Irish cinema

  9. Maureen O’Hara – Irish Icon

  10. ONCE (John Carney 2007) • Music video and ‘feel good’ story • Unlike the disposable culture and property obsessed inhabitants of the Celtic Tiger – the film valorizes ‘craft and dedication’ • New face of Ireland: 19-year-old emigrant Marketa Irglova [post-Maureen O’Hara] • broken vacuum cleaner used as a ‘stigma’ of her foreignness and ‘otherness’

  11. Consumption and Media studies • Gauging the actual or inferred pleasures audiences receive, continues to be challenging for national and other mainstream cinemas • The relationship between the growth of media audience/reception studies and their connection with more explicit marketing and consumption discourses in business studies aught to be addressed head on.

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