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Michael G. Cronin

history to Irish language scholarship, sociology, geography, ethnomusicology, and cultural, media and film studies. Moreover, Margaret Kelleher has recently mapped a flourishing field of Irish studies beyond Ireland and the Anglophone world. This broadening of the constituency for Irish studies, she argues, should generate a welcome broadening of intellectual concerns and methodologies within the field, and a renewed commitment to the principles of inter- and multidisciplinarity.13 Viewing this vibrant field of endeavour, it is clear that how Irish studies is, or might

in Are the Irish different?
Michael O’Sullivan

, in the subjects: Archaeology, Art History, Celtic Studies, Classics, Cultural Studies, English Language and Literature, Film Studies, Gender Studies, History, Languages, Law, Linguistics, Literature, Media Studies, Musicology, Philosophy, Theatre Studies, and Theology’.6 However, there has been a significant decrease in IRCHSS support for postgraduate (doctoral) support in recent years. In 2001, 175 postgraduate fellowships were awarded for doctoral-level research. For the 2006/7, 2010/11 06_Michael_Ch-6.indd 161 9/13/2013 11:52:06 AM MUP FINAL PROOF – <STAGE

in The humanities and the Irish university
On Elephant
Caroline Bassett

, and the implications of this ontology are no longer read as they once were. So my trepidation is not about the film itself, since it falls beautifully within the purview of an account of the logics of new media as a material cultural form. It is, rather, that a certain strand of film studies has held itself rather aloof from new media scholars as the latter have grappled with digital media, convergence and remediation. Perhaps the established tradition of studying cinema as a closed – and often ultimately textually determined – space (the screen, the apparatus, the

in The arc and the machine
Abstract only
Véronique Machelidon and Patrick Saveau

the foreclosures of French memory through the reading of multiple fictional representations of a significant event of Algerian decolonization. Laronde’s methodology opens promising avenues for film studies also and finds its counterpart in Jimia Boutouba’s chapter on the film La Marche, where she demonstrates cinema’s potential to rewrite, complement, and fill in the epistemological gaps of Introduction  5 the official historical discourse. In turn, both contributions share Christiane Taubira’s faith in the corrective and inclusive hermeneutic powers of (post

in Reimagining North African Immigration
Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja
Ramona Mielusel

choose to keep the expression “Franco-Maghrebi’ in order to distinguish Legzouli from a “Franco-French” filmmaker.  2 Born in 1963 in Aderj, Morocco, Legzouli has lived in Lille since the 1980s, when he came to study mathematics but went for cinema instead. He continued his film studies in Brussels, where he received his film director’s degree from INSAS (Institut National Supérieur des Arts du Spectacle) in 1994. He returned to France to pursue a career as a film director.  3 Ailleurs et ici (1990), Coup de gigot (1991), Le Marchand de souvenirs (1992), Là-bas si j

in Reimagining North African Immigration