The language of Irish films

Abstract

This study compares evidence taken from two corpora of Irish films (40 southern and 40 northern Irish films) with data from the northern and southern spoken components of ICE-Ireland. The results of the investigation indicate that there are numerous parallels in the findings regarding not only the relative frequency of feature occurrences, but also the contexts in which they can occur. It is hoped that, by proving the validity of studying variation in Irish English using data taken from Irish feature films, other scholars may be encouraged to do likewise for other world Englishes, such as Indian English in Bollywood or Nigerian English in Nollywood.

Irish Identities

“…O'Sullivan (2013O'Sullivan ( , 2015O'Sullivan ( , 2018 has focussed on Irish English in radio advertising, and change over time in the use of certain phonological features, while O'Sullivan and Kelly-Holmes (2017) explore the growing vernacularisation of Irish radio advertising, and the ideological significance of the different voices in a corpus of radio advertisements. Walshe (2009Walshe ( , 2016Walshe ( , 2017 has looked at the representation of Irish English in films, identifying key features of Irish English taken up by scriptwriters, and the relationship between authenticity and representations of varieties. Vaughan and Moriarty (2018) analyse the performances of a duo from Limerick city, the Rubberbandits, construing their comedy sketches as a challenge to hegemonic discourses surrounding Limerick city and ideologies of class distinction.…”

10. It’s gems like this that make me wish I hadn’t left Ireland!: Humorous representations of Irish English and their role in diasporic identities

“…O'Sullivan (2013O'Sullivan ( , 2015O'Sullivan ( , 2018 has focussed on Irish English in radio advertising, and change over time in the use of certain phonological features, while O'Sullivan and Kelly-Holmes (2017) explore the growing vernacularisation of Irish radio advertising, and the ideological significance of the different voices in a corpus of radio advertisements. Walshe (2009Walshe ( , 2016Walshe ( , 2017 has looked at the representation of Irish English in films, identifying key features of Irish English taken up by scriptwriters, and the relationship between authenticity and representations of varieties. Vaughan and Moriarty (2018) analyse the performances of a duo from Limerick city, the Rubberbandits, construing their comedy sketches as a challenge to hegemonic discourses surrounding Limerick city and ideologies of class distinction.…”