Stills Reels And Rushes

An analysis of the last 100 years in Irish film.

This book examines The Commitments (Parker, 1991) for the first time as a film, rather than an adaptation of Roddy Doyle’s bestselling novel, and as a significant cultural event in 1990s Ireland. A major hit in Ireland and around the world, the film depicts the short-lived attempts of an ensemble of young working-class Dubliners to achieve success as a soul covers band, playing the hits of Aretha Franklin, Otis Redding, and others, on a mission to ‘bring soul back to Dublin’. Drawing upon interviews with key figures involved in the film and its music, including Roddy Doyle, Angeline Ball, and Bronagh Gallagher, as well as archival research of director Alan Parker’s papers, the book explores questions of authenticity associated with youth, music, class, and culture, and assesses the film’s legacy for the Irish film industry, Irish music scenes, and Irish youth. It also examines the film’s status as a truly transnational production. This concise, yet interdisciplinary case study will be of interest to students and researchers in popular music, cultural studies, and sociology, as well as film and media studies.

The Last Bohemian offers the first extended, critical evaluation of all of Brian Desmond Hurst’s films, reappraising the reputation of a director who was born in 1895 in Belfast and died in Belgravia, London, in 1986. Pettitt skillfully weaves together film analyses, biography, and cultural history with the aim of bringing greater attention to Hurst’s qualities as a director and exploring his significance within Irish film and British cinema history between the 1930s and the 1960s. The director of Dangerous Moonlight (1941), Theirs Is the Glory (1946), and his best-known Scrooge (1951) made most of his films for British studios but developed an exile’s attachment to Ireland. How in the early twenty-first century has Hurst’s career been reclaimed and recognized, and by whom? Why in 2012 was Hurst’s name given to one of the new Titanic Studios in Belfast? What were his qualities as a filmmaker? To whose national cinema history, if any, does Hurst belong? Richly illustrated with film stills and other visual material from public archives, The Last Bohemian addresses these questions and in doing so makes a significant contribution to British and Irish cinema studies.

* Lucid and accessible style makes the series appealing to the general reader * Liberally illustrated throughout with stills from the film under discussion. * Collaboration between Cork University Press and the Film Institute of Ireland. Between the premiere of Brian Friel's stage play "Dancing at Lughnasa" in 1990 and Pat O'Connor's cinematic adaptation in 1998, Ireland experienced seismic economic and social changes, as well as "Riverdance", "Angela's Ashes" and an international vogue for all things Irish. Set in 1936, "Dancing at Lughnasa", as both film and play, imagines an anachronistic past in which the loss of joyous communal ritual is symptomatic of the cultural malaise so often associated with Ireland in the 1930s. Drawing upon unpublished material from the Friel archive at the National Library of Ireland, Joan FitzPatrick Dean contrasts the expressly theatrical elements of Friel's play and their cinematic counterparts

The Silent Cinema Reader brings together key writings on cinema from the beginnings of film in 1894 to the advent of sound in 1927, addressing the development of film production and exhibition technologies, methods of distribution, film form, and film culture during this critical period on film history. Thematic sections address: film projection and variety shows; storytelling and the Nickelodeon; cinema and reform; feature films and cinema programs; classical Hollywood cinema and European national cinemas. Each section is introduced by the editors, and contains suggestions for further readings and film viewings.

This book examines the origins of Ireland in its first independent incarnation, the Irish Free State (1922-1937). It explores how contemporary public relations and propaganda techniques were used to construct an identity for this new state – a state which after enduring seven years of insurrection and civil war, became one of the most stable democracies in Europe. This stability, the book argues, was constructed not solely through policies enacted by governments, but through the construction of a Gaelic, Catholic and Celtic national identity. By shifting the perspective to how nation building was communicated, it weaves an interdisciplinary narrative that initiates a new understanding of nation building - providing insights of increasing relevance in current world events. Avoiding a simplistic cause and effect history of public relations, the book examines the uses and effects of early public relations from a political and societal perspective and suggests that while governments were only modestly successful in their varied propaganda efforts, cumulatively they facilitated a transition from violence to peace. This will be of interest to researchers and advanced students with an interest in public relations, propaganda studies, nation building and Irish studies.

From her first appearances on the stage and screen, Maureen O'Hara (b. 1920) commanded attention with her striking beauty, radiant red hair, and impassioned portrayals of spirited heroines. Whether she was being rescued from the gallows by Charles Laughton ( The Hunchback of Notre Dame, 1939), falling in love with Walter Pidgeon against a coal-blackened sky ( How Green Was My Valley, 1941), learning to believe in miracles with Natalie Wood ( Miracle on 34th Street, 1947), or matching wits with John Wayne ( The Quiet Man, 1952), she charmed audiences with her powerful presence and easy confidence. Maureen O'Hara is the first book-length biography of the screen legend hailed as the "Queen of Technicolor." Following the star from her childhood in Dublin to the height of fame in Hollywood, film critic Aubrey Malone draws on new information from the Irish Film Institute, production notes from films, and details from historical film journals, newspapers, and fan magazines. Malone also examines the actress's friendship with frequent costar John Wayne and her relationship with director John Ford, and he addresses the hotly debated question of whether the screen siren was a feminist or antifeminist figure. Though she was an icon of cinema's golden age, O'Hara's penchant for privacy and habit of making public statements that contradicted her personal choices have made her an enigma. This breakthrough biography offers the first look at the woman behind the larger-than-life persona, sorting through the myths to present a balanced assessment of one of the greatest stars of the silver screen.

The publication of The Commitments, The Snapper, and The Van signaled the emergence of a significant new voice in Irish fiction. The significance lay not only in the description of a particular milieu and the social reality evoked, but more particularly in the form of writing used to portray the lives of the fictional Barrytown characters. The book explores the dialectical relationship between the world of the Barrytown characters as mediated through filmed and televised experiences and the translation of these experiences into the film medium in Parker's and Frears' work. The book will trace the genesis and impact of the change in Ireland's fortunes on the work of Doyle, Parker, and Frears and show how the increasing de-differentiation of boundaries between economy and culture meant that a body of literary and cinematographic work like the Trilogy was as much a contributory factor to the contemporary transformation of Ireland as a reflection of it.