After Bloody Sunday investigates the ways in which the events in
Derry on January 30, 1972, have found representation in
photography, film, theatre, poetry, television documentary, art
installations, murals, music, commemorative events, legal
discourse, eyewitness testimony, and pressure-group campaigns.
Thirty-six years after the killing and wounding of twenty-six civil
rights protestors in Derry, the new independent tribunal chaired by
Lord Mark Saville of Newdigate is close to publishing its findings.
The Report of the Bloody Sunday Inquiry promises to be the most
comprehensive act of truth-recovery yet attempted in relation to
the many atrocities that scarred the North of Ireland during the
three decades of political conflict. Mark Saville has the
formidable, and perhaps impossible, task of establishing the
definitive truth of Bloody Sunday. His attempt comes in the wake of
many other earlier versions of the events of 30th January 1972 that
have also claimed to present the truth of what happened that
day.After Bloody Sunday examines the portrayals of the events of
January 30th, 1972, and its devastating repercussions in
photography, film, theatre, poetry, television documentary, art
installations, murals, commemorative events, and legal discourse.
The authors consider their veracity, their mechanisms of
authenticity, and their assumptions that a particular medium be it
film, or language, or visual art can somehow articulate the truth
of Bloody Sunday.In the course of six thematically-organized
chapters, the authors analyze productions ranging from high-profile
popular forms of entertainment such as Paul Greengrass s feature
film Bloody Sunday and Jimmy McGovern s made-for-television film,
Sunday through to lesser-known treatments in poetry (Thomas
Kinsella s Butcher s Dozen), drama (Frank McGuinness s
Carthaginians and Brian Friel s The Freedom of the City), and
visual art (The Bogside Artists and Willie Doherty). They place
special emphasis on the commemoration events held each year in
Derry in which the families of the victims have over many years
remembered their dead and injured, while at the same time building
a highly-effective campaign that resulted, finally, in a new
Inquiry.Drawing on their expertise in the fields of literature,
cultural theory, media studies and visual art, the authors have
produced a thoroughly interdisciplinary approach towards the many
representations that claim, with varying degrees of confidence, to
tell the story of what really happened on the streets of the
Bogside on the afternoon of January 30, 1972. "
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