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Tarnished Hero
James mark Sullivan was part of the post-famine Irish immigration to the United States in the late 19th century. Overcoming family misfortune, he moved from newsboy to journalist to Yale-educated lawyer. Relocating to New York City, his association with Tammany Hall involved him in the "Crime of the Century" Becker-Rosenthal murder case, a role not previously explored. Sullivan's involvement won him a patronage appointment as ambassador to Santo Domingo. Scandals about graft and corruption forced his resignation. However, another factor which contributed to his dismissal, unexplained until now, was his effort at subversion of his government's policy of neutrality, which was connected to his ties to Irish nationalism. He later established the first indigenous Irish film company with a pronounced Nationalist agenda, making several films which are now classics of the silent film era. Following the death of his wife and son during the influenza epidemic of 1918, he returned to the United States. Failing to revive his legal career, he removed to Florida, dying in relative obscurity.
The Myth of an Irish Cinema
For the past seventy years the discipline of film studies has widely invoked the term national cinema. Such a concept suggests a unified identity with distinct cultural narratives. As the current debate over the meaning of nation and nationalism has made thoughtful readers question the term, its application to the field of film studies has become the subject of recent interrogation. In The Myth of an Irish Cinema, Michael Patrick Gillespie presents a groundbreaking challenge to the traditional view of filmmaking, contesting the existence of an Irish national cinema. Given the social, economic, and cultural complexity of contemporary Irish identity, Gillespie argues, filmmakers can no longer ...
New Irish Storytellers
With the success of such films as the Oscar winner Once, Irish film has been getting well-deserved international attention recently. New Irish Storytellers examines storytelling techniques and narrative strategies in contemporary Irish film. Revealing defining patterns within recent Irish cinema, this book explores connections between Irish cinematic storytellers and their British and American colleagues. Díóg O’Connell traces the creative output of Irish filmmakers today back to 1993, the year the Irish Film Board was reactivated, reinvigorating film production after a hiatus of seven years. Reflecting on this key and distinctive era in Irish cinema, this book explores how film gave expression to tensions and fissures in the new Ireland.
Sugar Sand
Russian immigrant Owen Heron comes to the US to make his fortune in the dotcom boom. When circumstance finds him out of work, he searches for direction in life, and wiles away the hours in the NJ Pine Barrens with his faithful dog. The chance discovery of a small fortune puts Owen back on the path to happiness - or so he thinks. Owen's unwitting & unsavory benefactors are anxious to get their money back, and will risk anything to accomplish their mission -- unless someone or something can stop them.
Between Literature and History
This text explores the diaries and memoirs of Mary Leadbeater and Dorothea Herbert, both of whom lived in Ireland. Working on the premise that their identities are literary constructions, the author investigates the cultural and existential impulses that motivate their creation.
The Continuing Story of Irish Television Drama
Dr Helena Sheehan's original study, Irish television drama, appeared in 1987. It traced 25 years (1962-87) of Irish society in a process of social transformation and the role of television drama in a struggle to define the nature of that process. This book is a sequel, advancing the story another 15 years (1987-2002). From 'Fair City' to 'Family' to 'Father Ted', it examines television drama in the time of the Celtic tiger, striving to come to terms with the flux of Irish life in an increasingly globalized world, in a time of significant changes in the climate of broadcasting.
John Huston
Years after his death, American filmmaker John Huston (1906-1987) remains an enigmatic and compelling figure. This wide-ranging collection of new essays encompasses a variety of topics relating to Huston's lifestyle, political activities and cinematic legacy. Fresh analyses of such films as Key Largo, The Asphalt Jungle, The African Queen, The Misfits and Prizzi's Honor are included along with insightful studies of Huston's oft-overlooked literary adaptations In This Our Life, Moby Dick and A Walk With Love and Death. Also evaluated are Huston's controversial World War II documentary Let There Be Light, and two a clef portraits of the "real" Huston in the films The Way We Were and White Hunter, Black Heart. Bookending these essays are revealing interviews with John's actress daughter Angelica Huston and film producer Wieland Schultz-Keil.
Thackeray's Works
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