Titlebook: Ireland and Cinema; Culture and Contexts Barry Monahan Book 2015 The Editor(s) 2015 Ireland.Irishness.Film.Culture.Theory.Aesthetics.Gender

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From Belfast to Bamako: Cinema in the Era of Capitalist Realismersal truth. However, typically when we talk about ‘political cinema’, we are referring to films that engage with political issues explicitly, questioning power and/or contesting dominant perceptions of the world. For these films, the ‘triumph’ of global capitalism and free-market theory has present

ACRID

‘Many Sides, Many Truths’: Collaborative Filmmaking in Transitional Northern Irelandffer a reflection of my experience as editor and co-director of the 60-minute documentary film. (Aguiar & McLaughlin, 2014) about the women’s experiences as visitors and workers of the Maze and Long Kesh Prison.. The film was made in collaboration with the Prisons Memory Archive (PMA) and its partic

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Singing in the Rain: The Irish-Themed Film Musical and ,’s Hibernian Momentnre and Irish cinema. However, as McIlroy’s book makes clear, an orientation towards genre allows for the study of cinema beyond a narrowly constituted canon. It also enables scholars to view cinematic texts as interrelated . of texts that build upon and correlate with one another rather than simply

intolerance

Irish Cinema: A French Perspectiventifiable. Of course, Ireland is an English-speaking country and, as it is geographically part of the British Isles, Irish cinema may easily be included in the larger concept of British cinema. A filmmaker or an actor may come from one part of the British Isles and work in another: Ken Loach (Britis

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Introductiongories in the former, and imbricated and amalgamated within individual films in the latter). This diachronic peculiarity contrasts radically with the more synchronic national cinema movements that are often subsumed under a broader ‘European film’ epithet, but are nevertheless still identified discu

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‘Nothin’ But a Wee Humble Cottage’: At Home in Irish Cinemad house prices had granted to large sections of the Irish population, ensured that the subsequent mass devaluation of domestic property now functioned as a powerful index of economic decline. In the aftermath of the crash, the home became increasingly associated with burden within popular and media

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Gangland Geometries: Space, Mobility and Transgression in the Veronica Guerin Films Guerin (or, as in Mackenzie’s film, her fictional incarnation Sinead Hamilton). Given the global outlook of these films, I consider the impact of genre upon the sense of place conveyed, specifically in terms of how the city becomes constituted by interlocking, yet discrete, social worlds. Enabled b