The representation of violence in Northern Irish art
-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), BritishCinema, 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
The ambivalence of queer visibility in audio- visual archives
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’
Britishcinema 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