Historical Dictionary of Irish Cinema
Roderick Flynn, Patrick Brereton
Format: PDF / Kindle (mobi) / ePub
In 1898, documentary footage of a yacht race was shot by Robert A. Mitchell, making him the first Irishman to shoot a film within Ireland. Despite early exposure to the filmmaking process, Ireland did not develop a regular film industry until the late 1910s when James Mark Sullivan established the Film Company of Ireland. Since that time, Ireland has played host to many famous films about the country―Man of Aran, The Quiet Man, The Crying Game, My Left Foot, and Bloody Sunday―as well as others not about the country―Braveheart and Saving Private Ryan. It has also produced great directors such as Neil Jordan and Jim Sheridan, as well as throngs of exceptional actors and actresses: Colin Farrel, Colm Meaney, Cillian Murphy, Liam Neeson, Maureen O'Hara, and Peter O'Toole.
The Historical Dictionary of Irish Cinema provides essential facts on the history of Irish cinema through a list of acronyms and abbreviation; a chronology; an introduction; a bibliography; and hundreds of cross-referenced dictionary entries on the pioneers and current leaders in the industry, the actors, directors, distributors, exhibitors, schools, arts centers, the government bodies and some of the legislation they passed, and the films.
Hathaway’s Of Human Bondage, which had been made in Ireland, and by the demand to cut Stanley Kubrick’s Dr. Strangelove), Lenihan in January 1965 appointed an entirely new Appeals Board (the previous chairman, J. T. O’Farrell, had been a member for over 40 years). The new board had a specific brief: start issuing limited certificates (i.e., certificates limiting entry to specified age groups). Hitherto the Censorship of Publications Appeals Board had largely rubberstamped the censors’ decisions.
organizations (including the IRA). After producing Mother Ireland, the group shifted to a subject informed by a different kind of politics, which grew out of a drama workshop on sex and sexuality organized for Derry teenagers. The result was Hush-a-Bye Baby, directed by Mother Ireland’s producer Margo Harkin. Although the co-op ceased to exist in the 1990s, a report commissioned by the group and published in February 1988 has had a lasting impact on the environment for filmmaking in Northern
video and adult education and gained a PhD in social anthropology from Queen’s University. From 1979 she taught media and communications (the first courses of their kind in Ireland) at the College of Commerce, Rathmines, in Dublin. In the 1980s Doolan moved to Galway, where she founded the Galway Film Fleadh, studied homeopathy, and worked as an executive 07_308_C-D.qxd 92 • 7/12/07 5:40 AM Page 92 DOOLAN, LELIA producer for the Irish Film Board on Fergus Tighe’s Clash of the Ash. From
Northern and Southern Irish politics and ultimately finds himself in the position of having to take sides. HIGH SPIRITS (1988). In a desperate attempt to hold on to his ancestral home in Ireland, Lord Peter Plunkett and his staff conspire to market the castle as a haunted hotel. Among the first coachload of American guests are Jack and Sharon, on a second honeymoon to revive a flagging marriage. During the first night of their stay, the guests duly witness a motley crew of ghosts sweeping through
he wants to be literally rooted to the landscape in a way that is reminiscent of Richard Harris’s role in The Field. His chosen antagonist, O’Flaherty (Adrian Dunbar), is a publican and womanizer who cannot keep his wife happy, and a disgruntled lover ends his life. Although initially acknowledging Harry’s challenge, he eventually comes to regard him as an irritant. However, the 07_308_G-H.qxd 156 • 7/12/07 5:43 AM Page 156 HOW TO CHEAT IN THE LEAVING CERTIFICATE relationship becomes