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TV Museum
"TV Museum : contemporary art and the age of television charts the changing status of television as cultural form, object of critique, and site of artistic intervention since the 1950s." -- back cover.
Women in the Irish Film Industry
Intro -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Notes on Contributors -- Introduction -- Setting the Scene: Women in the Irish film industry -- Susan Liddy -- Revisiting the Past -- Ellen O'Mara Sullivan and Her Role in Early Irish Cinema -- Díóg O'connell -- Feminist Reclamation Politics: Reclaiming Maeve (1981) and Mother Ireland (1988) -- Sarah Edge -- Practitioners and Production Culture -- 'Where Are the Women?' Exploring perceptions of a gender order in the Irish film industry -- Susan Liddy -- Irish Production Cultures and Women Filmmakers: Nicky Gogan -- Laura Canning -- Women Cinematographers and Changing Irish Production Cultures -- Maev...
The Good Luck Girl
Maeve Connolly is tired of being labelled as irresponsible. Yes, she may spend unhealthy amounts of time on Facebook and watch marathon sessions of America's Next Top Model, but Maeve isn't a typical post-college slacker. Determined to change her life and make her own luck, Maeve impulsively decides on a grand adventure - driving cross country to LA. But en route, Maeve's car breaks down and she is stranded in Unknown, Arizona. It is here, alone and in the middle of nowhere, that Maeve finally faces up to the reality of her past. What Maeve has denied acknowledging, even to herself, is that she isn't running from bad luck, but from something much more complicated - something that made her feel as though the world would never turn again, and her heart would always remain closed. What begins as a hilarious and quirky coming-of-age tale soon deepens into a complex portrayal of survivorship and one woman's journey to a new beginning. Funny, irreverent, and moving in equal measure, The Good Luck Girl will leave you smiling through tears.
The Irish in Us
DIVA colleciton that looks at how Irishness has become a discursive commodity within popular culture./div
Testimony and Trauma
This book offers a collection of reflective essays on current testimonial production by researchers and practitioners working in multifaceted fields such as art and film performance, public memorialization, scriptotherapy, and fictional and non-fictional testimony. The inter-disciplinary approach to the question of testimony offers a current account of testimony’s diversity in the twenty-first century as well as its relevance within the fields of art, storytelling, trauma, and activism. The range of topics engage with questions of genre and modes of representation, ethical and political concerns of testimony, and the flaws and limitations of testimonial production giving testament to some of the ethical concerns of our present age. Contributors are Alison Atkinson-Phillips, Olga Bezhanova, Melissa Burchard, Mateusz Chaberski, Candace Couse, Tracy Crowe Morey, Marwa Sayed Hanafy, Rachel Joy, Emma Kelly, Timothy Long, Elizabeth Matheson, Antonio Prado del Santo, Christine Ramsay, Cristina Santos and Adriana Spahr.
A Companion to British and Irish Cinema
A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and method...
Exhibiting the Moving Image
Since the 1990s, a cinematographic turn has taken place in contemporary art, paralleled by the emergence of a cinema of exhibition. This collection of new essays investigates the relationships between the white cube and the black box, focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.
After the Party
'I always wanted to be friends with both my sisters. Perhaps that was the source, really, of all the troubles of my life...' It is the summer of 1938 and Phyllis Forrester has returned to England after years abroad. Moving into her sister's grand country house, she soon finds herself entangled in a new world of idealistic beliefs and seemingly innocent friendships. Fevered talk of another war infiltrates their small, privileged circle, giving way to a thrilling solution: a great and charismatic leader, who will restore England to its former glory. At a party hosted by her new friends, Phyllis lets down her guard for a single moment, with devastating consequences. Years later, Phyllis, alone and embittered, recounts the dramatic events which led to her imprisonment and changed the course of her life forever. 'Wonderfully subtle and compelling' Linda Grant 'Uncanny, evocative, atmospheric' Sunday Times 'Connolly is a terrifically subtle writer... [she] slyly sweeps her readers into the period drama as tensions tauten between families and social classes' Daily Telegraph 'Wonderful, tragicomic... beautifully researched' The Times
Performing Place in French and Italian Queer Documentary Film
This book explores the space of queer documentary through the modernist optic of Marcel Proust’s ‘lieu factice’ (artificial place), a perspective that problematizes the location of place in a post-postmodern world with a dispersed sense of the real. The practice of queer documentary in France and Italy, from the beginning of the new millennium onwards, is seen to re-write the coherence of ‘place’ through a range of emerging queer realities. Proposing the post-queer as a way of contending with the spatial dynamics of these contexts, analysis of key texts positions place as mourned, conceded and intersectional. The performance of place as agency is considered through the notional film, the radical archive of documentary, the enactment of politics, queer indeterminacy and a phenomenology of the object, the frame and queer mobility. The central themes of family, gender, dis/location, in/visibility and re/presentation question blind investment in the integrity of being emplaced.
Full House
A fantastic Maeve Binchy - written specially for the World Book Day Quick Reads promotion. Dee loves her children very much, but now they are all grown up, shouldn't they leave home? Rosie moved out when she got married, but it didn't work out, so now she is back with her parents. Helen is a teacher, and doesn't earn enough for a place of her own. Anthony writes songs, and is just waiting for the day when someone will pay him for them. Until then, all three are happy at home. It doesn't cost them anything, and surely their parents like having a full house? When a crisis occurs, Dee decides things have to change for the whole family...whether they like it or not.
