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The representation of violence in Northern Irish art
Shane Alcobia-Murphy

-Bakargiev and Mac Giolla Léith, Willie Doherty, p. 158. 23 Michael Walsh, ‘Thinking the Unthinkable: Coming to Terms with Northern Ireland in the 1980s and the 1990s’, in Justine Ashby and Andrew Higson (eds), British Cinema, Past and Present (London: Routledge, 2003), pp. 288–98: pp. 294–5. 24 Ibid., p. 296. 25 Brian McIlroy, Shooting to Kill: Filmmaking and the ‘Troubles’ in Northern Ireland (Richmond: Steveston Press, 2001), p. 128. 26 Richard Kirkland, ‘The Spectacle of Terrorism in Northern Irish Culture’. Critical Survey, 15:1 (2003), pp. 77–90: p. 77. 27 Andrea Grunert

in Irish literature since 1990
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Filminstitutet, 2016). Unlike other themes on the platform, such as ‘Football’ or ‘Radio’, the category ‘Queer’ does not yet have introductory text. On what grounds the films are selected thus remains unclear for the users. To compare, the BFI Player introduces its theme ‘LGBT Britain’ by explaining: British cinema boasts a long history of carefully coded queerness, but for much of the 20th century explicit depictions of gay life in drama or documentary were more or less taboo. Gay men were subject to vicious state-​ sanctioned persecution, while lesbians were socially

in The power of vulnerability