Titlebook: Screening Modern Irish Fiction and Drama; R. Barton Palmer,Marc C. Conner Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 A

GLARE

,The Ritual of Memory in Friel’s ,,ed in 1998, he used the medium of film to explore its quiet, interior drama and to bring into relief many of Friel’s most pressing concerns. O’Connor’s realization on screen is keenly attentive to the major concerns of .; yet at the same time the film may be the more historically acute and probing s

搏斗

Synovial-Fluid

,John Huston’s , (1987),e of the filming, casting, screenplay, and reception of the film. It considers the strengths and weaknesses of Tony Huston’s screenplay, observing that the central intelligence of his father’s camera eye replaces the concealed narrator and free indirect discourse of Joyce’s masterpiece.

難管

deciduous

,Liam O’Flaherty’s , and the Aesthetics of Terror,trayal among Irish Republican Army terrorists in Dublin on one night in 1922. The novel presents an allegory of Irish national character through the desires and self-deception of the animalistic Gypo Nolan, whose internal monologues reflect the shifting political consciousness during the Sinn Fein r

Asperity

HARD

硬化

,Lewin’s Wilde: Aestheticism, Moralism, and Hollywood,he point of becoming pornographic, before focusing on the most financially successful and aesthetically fascinating, Albert Lewin’s 1945 version. This film was the product of the studio system at its height and of an odd anomaly within it—Albert Lewin, an academic who had long served as Irving Thalb

反叛者

,“Wonderful and Incomparable Beauty”: Adapting Period Aesthetic for ,,age productions and all major cinema adaptations revel in the spectacle of period art and costume design. Anthony Asquith’s 1952 Technicolor production is awash with . style, complete with nods to William Morris and James MacNeill Whistler. The kinescoped 1964 British . television production employs

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