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This was the first comprehensive study of film production in
Ireland from the silent period to the present day, and of
representations of Ireland and 'Irishness' in native, British, and
American films. It remains an authority on the topic. The book
focuses on Irish history and politics to examine the context and
significance of such films as Irish Destiny, The Quiet Man, Ryan's
Daughter, Man of Aran, Cal, The Courier, and The Dead.
This was the first comprehensive study of film production in
Ireland from the silent period to the present day, and of
representations of Ireland and 'Irishness' in native, British, and
American films. It remains an authority on the topic. The book
focuses on Irish history and politics to examine the context and
significance of such films as Irish Destiny, The Quiet Man, Ryan's
Daughter, Man of Aran, Cal, The Courier, and The Dead.
From the opening of the first full-time cinemas in Ireland during
1909-14 until the multiplex boom of the 1990s and 2000s, Irish
cinemagoing has been a complex intersection of social, cultural and
business practices. As well as providing an annotated listing of
every known significant film venue that has operated on the island
of Ireland since the beginning of cinema in the late nineteenth
century, this book traces in forensic detail the nature of the
Irish cinema phenomenon, and, utilizing a range of previously
unexplored primary sources from film trade publications to cinema
records, provides the first extensive account of a whole Irish
business sector, including the key personnel involved. In the
process, issues of cultural and social geography are explored not
least in relation to the development of cinema buildings and the
siting of cinemas. The book's account of alternative film
exhibition practices not only offers the first comprehensive
histories of the competing cultural and moral agendas of the
secular Irish Film Society and the National Film Institute of
Ireland, a body formed and controlled by the formidable Catholic
archbishop of Dublin, Dr McQuaid, but also outlines the emergence
of a dynamic film culture in the 1980s and 1990s, and includes the
history of film festivals in Ireland.
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