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Written by one of the leading authorities on Irish cinema, Irish cinema in the twenty-first century is an important contribution to debates on the possibility of a national cinema in the age of globalization. Designed to be accessible to students and to provide guidance to lecturers in structuring a course on Irish cinema, Ruth Barton’s book is divided by genre and theme. Chapters cover new areas in Irish film production, such as the creative documentary, animation and the horror film, and revisit key themes, including the representation of history, post-Troubles cinema and Northern Ireland, rural representations and the cinema of the city. Each chapter is followed by the analysis of a short film. Barton’s writing throughout is informed by theories of globalisation, the transnational, cultural trauma and spatiality. One of her key concerns is over questions of gender representation, but equally how the new social structures of Ireland from the Celtic Tiger to today are treated in the films discussed. Irish cinema in the twenty-first century discusses the work of leading filmmakers – Lenny Abrahamson, John Crowley, Neil Jordan, the McDonagh brothers and Jim Sheridan – as straddling both the local and the global industries, with a particular focus on certain films as exemplary case studies.

This book will appeal to third-level students in film studies and Irish studies, academics and those interested in how Irish cinema has developed in the twenty-first century.

Ruth Barton

September, p. 87. Deegan, G. 2016. Movie ‘Room’ Boosts Element Pictures Profits. Irish Examiner , 24 November, p. 16. Department of Finance. 2012. Economic Impact Assessment of Section 481 Film Relief. Dublin: Department of Finance. Fagan, J. 2015. ‘It’s a man in a f***ing dress’ ’ – Why 11 Million People Cannot Get Enough of Mrs Brown’s Boys . Estudios Irlandeses , 204–8. Flynn, R. and Tracy, T. 2016. Quantifying National Cinema: A Case Study of the Irish Film Board 1993–2013. Film Studies , 14, 32–53. Galt, R. and

in Irish cinema in the twenty-first century
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Ruth Barton

housewife or the Belfast businesswoman, the Clare farmer or the Donegal musician, the Kerry politician or the Cork hurler, issues of space bear visibly upon Irish people’s lives to a greater extent than at any point in the past.’ Irish Studies has followed other disciplines in applying theories of space and place to analyses of identity politics, while film studies usefully has intertwined ideas of the social production of space with the cinematic. In 1977, Yi-Fu Tuan ( 1977 : 6) influentially proposed the following distinction: ‘Space

in Irish cinema in the twenty-first century
Abstract only
Ruth Barton

. Notes 1 For more on home movies, including Irish home movies, see Rascaroli, Monahan and Young ( 2014 ) . 2 For a discussion of these films see and their context, see O’Brien ( 2004 : 170–8 and 208–21). For essays on Alan Gilsenan and The Road to God Knows Where , see O’Brien ( 2015 ) and Barton (2015b). 3 Leahy ( 2014 : 138–65) discusses Ballymun community filmmaking in detail. 4 For a selection of short articles on Undressing My Mother , see the dedicated section of Short Film Studies , 1(1), 2010, pp. 57

in Irish cinema in the twenty-first century
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Ruth Barton

, animation is widely acknowledged as the base for video-gaming and for special effects in cinema. This industrial resurgence has been mirrored by increased academic interest in animation, even though the question of the most appropriate theoretical model of analysis – film studies, graphic art, cartooning – remains unresolved. For our purposes, a further theoretical consideration is the relationship between animation and national (live action) cinema, and animation and national culture. In more general terms, the relationship between animation and live

in Irish cinema in the twenty-first century