Deirdre Molumby takes a look at Ireland and Cinema: Culture and Contexts, which offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen. The volume is edited by Barry Monahan, College Lecturer at University College Cork in Film Studies.
Initially it would seem that Ireland and Cinema: Culture and Contexts has chosen a vague, all-encapsulating title to sew together its disparate and broad range of content. Fortunately, this breadth is the book’s strength, and whether one’s interest is in Irish cinema or in a broader field of study – gender, politics, and international perspectives seem to feed into most of the individual essay’s subject matter – there is accessible reading and scholarly provocation for all. What Ireland and Cinema achieves most impressively is its capturing of this present, unique moment in the field of Irish film studies in which the work of a number of impressive new scholars is gathering momentum. Reference is made to what has come before, the excitement of what is occurring in academia right now is captured, and the anticipation of what is to come is evoked.
The foreword, entitled ‘Irish National Cinema – What Have We Wrought? Contemporary Thoughts on a Recent History’ provides an engaging opening to the book. It encapsulates an impressively neat summary of the subject in question, and includes a history of the Irish Film Board, a look at the international attention given to Irish cinema (initially through the seminal work of Jim Sheridan and Neil Jordan), the opening up of the Irish film and television industry to major international co-productions, the development of a film industry in Northern Ireland, as well as thoughts on Irish film studies as an academic field. The choice of writer for this foreword could not be more appropriate – the recently retired Martin McLoone has written key texts which would be most Irish film studies students’ go-to books, including Irish Film: The Emergence of a Contemporary Cinema (2000) and Film, Media and Popular Culture in Ireland: Cityscapes, Landscapes, Soundscapes (2008).
Editor Barry Monahan provides an introduction to the book which includes a contemplation of the meaning of national cinema and praise of the innovative work of Ireland’s academic commentators, before providing a practical summary of each of the essays included in the volume. Therein follows a vast range of rich, diverse and immersive essays. The contributors come from Ireland and Northern Ireland’s top universities, while alternative equally interesting perspectives come from France, Germany, Finland and America. A spectrum of researchers, lecturers, PhD candidates, sociologists and professors make up the writers of the volume, each providing thoughtful and confident viewpoints of their specialty field.
It is far too great a challenge to select the standout chapters with such a selection so only a summary to the collection, which simply cannot do justice to the vista of its content, will be provided here. Part I consists of an essay that contemplates historical and more recent ideological functions of home and place in Irish cinema, followed by a chapter on space, mobility and gender in the Veronica Guerin films. This section also includes a particularly intriguing chapter on representations of accents in Dublin-set films, and another on Snap, considering how trauma and sexual abuse are worked through in Carmel Winters’ film.
Part II opens with a riveting essay on female stardom in Irish cinema, focussing on the actresses Saoirse Ronan and Ruth Negga, which is followed appropriately by a contemplation of Johnathon Rhys Myers’ role in The Tudors, arguing that there is a particularly Irish masculinity in the construction of his character, King Henry VIII. The next essay explores ethnic and gender stereotypes in P.S. I Love You, followed by a review of His & Hers that mourns the documentary’s lack of transgression in its gender representations.
Part III consists of essays on Northern Ireland, including an analysis of a collaborative film project made on the experiences of women as workers and visitors of the Maze and Long Kesh Prison, and another on the political body in Steve McQueen’s Hunger.
Part IV presents some overseas perspectives of Irish cinema. The volume ends with an interview conducted by Ciara Chambers and Barry Monahan with Susanna Pellis, the artistic director of the Rome Irish Film Festa. The interview provides a compelling consideration of the role of film festivals in the industry, and, through discussions about prize-giving, finance, the future and other topics, aptly captures the recurring thoughts of the book – a celebration of the current state of Irish cinema (with regards both production and academia) and speculation for the years ahead.
- Hardcover: 240 pages
- Publisher: Palgrave Macmillan (26 Aug. 2015)
- Language: English
- ISBN-10: 1137496355
- ISBN-13: 978-1137496355
- Product Dimensions: 14 x 1.4 x 21.6 cm