presents, inevitably, a view from an edge. Tim
Robinson, too, is interested in marginal places. In his introduction to J. M. Synge’s
The Aran Islands, he observed, ‘If Ireland is intriguing as being an island off the
west of Europe, then Aran, as an island off the west of Ireland, is still more so; it
is Ireland raised to the power of two.’1 I was aware, however, in Beijing in 2004,
that the little spot on the global map that represented Ireland could also be read as
the centre of a wider global network, depending on your value systems and your
perspective. I had not
journey’ in his promotional review of Silence. See Pat Collins, Silence (Cork: Harvest
Films, 2012), at the 15th Annual European Union Film Festival. Accessed 3 May 2012,
5 Jack C. Ellis and Betsy A. McLane, A New History of Documentary Film (New York:
Continuum, 2005), 1.
6 Ellis and McLane, Documentary Film, 2.
7 Bill Nichols, Introduction to Documentary (Bloomington: University of Indiana Press,
2001), 20. Original emphasis.
8 Robinson, Setting Foot, 78. My emphasis.
9 Robinson refers to himself