Irish National Cinema

Barton, Ruth

doi:10.4324/9780203642344

Cited by 70 publications

(13 citation statements)

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“…Specifically, in Odd Man Out (1947), the story of an IRA man, Johnny McQueen (James Mason) on the run for a murder he accidentally committed during the course of a bank robbery, Hill notes that the expressionistic rendition of Belfast as a city of claustrophobic, enclosing spaces heightens the sense of doom. Throughout the 1980s and 1990s, Belfast and the wider landscape of Northern Ireland frequently appeared as the setting for political thrillers, or for Hollywood-made thrillers where the originating violent action lay in events occurring during the Troubles (Barton 2004; Hill 2006; McIlroy 2001; McLoone 2000). Emblematic thrillers such as Blown Away (1994) and The Devil’s Own (1997) displayed little interest in exploring the politics of the Troubles but, rather, deployed them as a geopolitical event guaranteed to add veracity to storylines of violent assassinations and traumatized combatants.…”

Section: Belfast and “Northern Noir”mentioning

confidence: 99%

Trauma, Motive and the Post-Troubles Psychopath in The Fall

Barton

2020

Television & New Media

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This article discusses the depiction of the serial killer, Paul Spector, in the BBC/RTÉ television series The Fall (2013–2016). It complements existing scholarship on the series’ female detective by considering how Spector’s construction as a Gothic villain and victim of institutional abuse inflects The Fall’s positioning as a transnational genre production. It focuses on the use of Belfast as a setting, taking into account its historical positioning as a “Noir” city, and discusses the series’ spatial politics in the context of the city’s more recent history of sectarian divisions. It places the “explanation” for Spector’s criminal activities in the context of the narrativization of clerical sexual abuse as specifically associated with the Irish Catholic church, and outlines the narrative turns the series is forced to take to reach its generically inflected conclusion. The discussion focuses on seasons one and two of The Fall as the most significant in terms of meaning-making.

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Section: Belfast and “Northern Noir”mentioning

confidence: 99%

Trauma, Motive and the Post-Troubles Psychopath in The Fall

Barton

2020

Television & New Media

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“…Teori dan konsep sinema nasional telah dibahaskan oleh beberapa orang sarjana terkemuka seperti Higson (1989), Hayward (2001), Barton (2004), Zhang (2004), Street (2005) dan O'Regan (2005. Secara ringkasnya, kesemua teori sinema nasional membahaskan keunikan sinema negara mereka dan terasing dari sinema-sinema lain khususnya sinema Hollywood.…”

Section: Konsep Filem Nasional Cooke Lez (1999)unclassified

Sepet (2005): Sebuah Filem Nasional Malaysia (Sepet (2005): A Malaysian National Film)

Shukri

Abdullah²

2018

JKMJC

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Sepet (2005) adalah filem pertama Yasmin Ahmad. Filem ini telah memenangi anugerah di festival filem tempatan dan antarabangsa. Sepet juga telah diangkat sebagai subjek kajian dan dikaji dalam pelbagai konteks oleh para sarjana filem. Namun begitu, setakat ini Sepet masih belum diteliti sebagai sebuah filem nasional Malaysia. Sehubungan itu, persoalan artikel ini adalah, apakah kandungan filem Sepet melayakkannya sebagai sebuah filem nasional Malaysia? Data artikel ini diperoleh daripada penyelidikan asas dengan reka bentuk kajian kualitatif. Analisis kandungan diaplikasikan sebagai kaedah untuk menganalisis bahan kajian dalam artikel jurnal, tesis, akhbar, majalah dan filem Sepet. Selain itu, konsep filem nasional oleh Cooke Lez (1999) diaplikasikan untuk meneliti aspek ikonografi dan pengucapan atau bahasa. Dapatan kajian dalam artikel ini adalah, Sepet layak diangkat sebagai sebuah filem nasional Malaysia. Dari sudut ikonografi, Sepet telah mengemukakan masyarakat Malaysia yang pelbagai kaum sebagai lambang identiti bangsa Malaysia. Ikonografi bangsa Malaysia ini dipaparkan melalui mise-en-scene filem ini dari sisi latar, pakaian dan props yang ditonjolkan sebagai sebahagian daripada ceritanya. Manakala dari sudut bahasa pula, Sepet telah menggunakan bahasa perbualan harian yang digunakan oleh masyarakat Malaysia iaitu bahasa Melayu, Inggeris dan Mandarin. Keistimewaan filem ini adalah penggunaan ketiga-tiga bahasa yang dituturkan sebagai medium komunikasi antara karakter-karakter filem Sepet. Keistimewaan ini adalah identiti utama, terutamanya, dalam mengasingkan filem nasional Malaysia dari filem-filem nasional negara lain. Oleh itu, filem Sepet memiliki suatu identiti khusus, iaitu penggunaan lebih dari satu bahasa dalam melayakkannya sebagai filem nasional Malaysia.

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“…For more on other challenging documentary films dealing with social issues such as physical and psychological abuse in industrial and reformatory schools and Magdalen laundries see Smith (2007: 113-135). See also Savage 1996, Inglis 1998, Pettitt 2000, Barton 2004, O'Brien 2004, O'Flynn 2004and Gibbons 2005. Pine refers to Cathal Black's docudrama Our Boys, produced in 1981 and not screened until ten years later, as an example of "the culture of silence on the issue of institutional abuse" (2011: 19).…”

mentioning

confidence: 99%

Breaking Consensual Silence through Storytelling: Stories of Conscience and Social Justice in Emer Martin's The Cruelty Men

Caneda-Cabrera

2020

Miscelánea

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In recent years Irish society has witnessed an upheaval in public opinion before the discovery of conspiracies of silence hiding stories of institutional abuse which had remained concealed from the public domain. These narratives of secrecy have been consistently identified and stripped away by writers like Emer Martin whose novel The Cruelty Men (2018) denounces the fact that forgetting and silence are woven into the fabric of society and politics in Ireland. Drawing on the notion of consensual silence, the article explores The Cruelty Men as a text that addresses institutional abuse and challenges official discourses by rescuing the unheard voices of the victims and inscribing their untold stories into the nation’s cultural narrative. As the article will discuss, ultimately the novel calls attention to the healing power of storytelling as a way of renegotiating Ireland’s relationship with the silences of the past.

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Irish National Cinema

Cited by 70 publications

References 0 publications

Trauma, Motive and the Post-Troubles Psychopath in The Fall

Trauma, Motive and the Post-Troubles Psychopath in The Fall

Sepet (2005): Sebuah Filem Nasional Malaysia (Sepet (2005): A Malaysian National Film)

Breaking Consensual Silence through Storytelling: Stories of Conscience and Social Justice in Emer Martin's The Cruelty Men

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