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Cultural Patriotism In Neil Jordan's The Crying Game

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Cultural nationalism is a force that permeates through films as a reflection of the country of origin and production. Naturally, it focuses on national identity shaped by cultural traditions and language – a concept that proves problematic when appertained to Irish film and how the ‘Irish Mind’ is translated on screen. Unlike many other countries, Ireland lacks the strong foundation of indigenous voice to solidify its films as Irish, despite the early efforts of Douglas Hyde and others to restore the Gaelic language. Since the linguistic footing of Ireland was crippled by the widespread use of English, the hope of a distinctive culture was put into the Irish Literary Revival; such hope was then catechised by the Roman Catholic tradition for…show more content…
The Crying game follows the character of Fergus, an IRA member, who captures and holds prisoner a man called Judy. Fergus develops a brief yet significant connection with Judy that entices him to protect the man’s girlfriend Dil, upon Judy’s death, with whom he forms a romantic relationship. While it has been recognised that the film explores essentialism in terms of race and sexuality, these ultimately assist the main character Fergus ‘’in his becoming an enlightened subject’’…show more content…
While in the past century it was modelled to encompass all things Irish to establish a strong disassociation with Britain, nowadays it is trying to redesign itself to reflect the modern Irish society. It is proving to be a difficult task as the national history, the lack of progression in the representation of women on screen, and the cultural and natural appeal of the country hinder the emergence of modern national identity that can be projected in reflection of current Ireland. The images of the Irish and Ireland that have been constructed in the past, and even in the present, have been monopolised by themes of violence, conflict, mythology and history, and prohibit the recognition of a Celtic Ireland that has developed past those motifs. As per Stoneman, the Chief Executive of the Irish Film Board from 1993 to 2003, the desire for the Irish cinema is
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