The history of Irish cinema is a history the follows closely the political and social fortunes of the country over the last century, as is the case with much European cinema. Ireland was involved in the history of cinema from its earliest incarnations. The Lumiére Brothers rented their Cinématographe to operators in Dublin in 1886, just four months after the initial showings in Paris, and so the popularity of cinema was cemented in Ireland from its very inception. The moving picture shows were a common and popular pastime of the younger generations along with music halls, and were taken up enthusiastically by the lower and growing middle classes. Some films were also produced in Dublin by agents of the Lumiére Brothers, but these were only simple moving pictures, and many years passed until the first true film was produced in Ireland, 1910's The Lad From Old Ireland. This film was produced by the film company Kalem, an American company who employed director Sidney Olcott to make a film outside the USA. Olcott was to make many films set on location in Ireland, setting up a long-standing tradition of American production companies using Ireland as a location. This was disastrous for the indigenous film industry, which largely could not and did not exist until the 70's, and only truly bloomed even later still. In spite of this there were a few small Irish companies producing newsreel content at the time, notably General Film Supply. As the country transitioned from colony to independent state in the early 1920's, it was clear that the new government, swayed by the iron grip of the church, would not support the immorality of the film industry, and taxes were imposed on film stock and prints coming into the country, and The Censors... ... middle of paper ... ...lled practitioners within the industry, as well as providing a new training ground for the young film-makers now graduating from the wide array of media courses now on offer in the country. The future of Irish film-making is never certain. Funding will always be a struggle in such a small nation, especially in times of economic uncertainty. The last two or three decades have seen a shifting balance in Ireland between relying on outside productions and creating a body of indigenous film. Recent films like Run & Jump (Steph Green, 2013) and Frank (Lenny Abrahamson 2014), embody this fragile balance with their mix of international and home grown talent and storylines. The future of the film industry in Ireland, while never a sure thing, is more diverse and healthy than at many points in the past, and will no doubt produce many culturally significant films in the future.
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
Nichols, John. ""Counbtering Censorship: Edgar Dale and the Film appreciation movement (critical essay)."." Cinema Jouranl. Fall 2006.
Renes, Cornelis Martin. "The Quiet Man and Angela's Ashes: Hollywood representations of Irish emigration as male quest narrative." Estudios Irlandeses - Journal of Irish Studies 2 (2007): 93+. Academic OneFile. Web. 7 Apr. 2012.
This gentleman is six foot two, short black hair, black eyes, and with no real distinguishing marks. He is heterosexual, African American, and is An Atheist. His name is David, and he is walking home while wearing sweat pants with a ripped up t-shirt that was from home. Some people would consider this gentleman to be poor and have a horrible education with nothing good on his mind. However David is a part-time firefighter, with a part-time job, and also being part time college student. There is a difference between people hardcore supporting their culture or beliefs, compared to individuals who get stereotyped like David for example. In the article, “Sticks and Stones: The Irish Identity”, by Robert McLaim Wilson and published by Grand Street.
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
... middle of paper ... ... Larry Ceplair and Englund stated in the book The Inquisition in Hollywood, “The destruction of the motion picture Left not only transformed the political atmosphere in Hollywood, but also adversely affected the kind of product which the studios turned out. “ In the early 20th century Hollywood reframed from producing politically controversial films in fear of becoming a target of McCarthy or the HUAC.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Smoke Signals, directed by and starring Native people, ushered in the golden age of Aboriginal cinema. The story was not about what occurred one hundred years ago but about current-day “nativeness,” where there are no stereotypes and no stoic Indians.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
When we take into account the history of U.S movies the Progressive Era is roughly chartered around 1900-1920, a period that witnessed intense social reform. Social unrest and street crime became a major concern as cities were expanding rapidly filling with immigrants and the poor and leading some of them to form criminal gangs (Rafter 15). There was forced prostitution and police were uneducated, corrupt and brutal and this state came to a close with the enactment of the anti-alcohol 18th Amendment which encouraged bootlegging and organized crime. During the silent film era US became concerned about the manifestations of crime. Ordinary citizens for the first time began to think about the sources of criminality and ways to improve social
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
In 1915 the American film industry was forever changed as it took its first step toward modern filmmaking. It was the year D.W. Griffith’s A The Birth of a Nation was released, a racially insensitive film depicting life during the Civil War and Reconstruction in America. It is arguably first major success in American cinema as it was the highest grossing film of its time. It is no accident that the film destine to redefine the film industry in the United States would inevitable be a national historical epic, for the film was a response to the growing presents of foreign films dominating American cinema. Though ultimately The Birth of a Nation and D.W. Griffith were a product of circumstances created by corporate attempts to industrialize filmmaking.
I, like so many little girls at age four, donned the tulle and canvas slippers of a ballerina to pirouette and sashay across various studios and stages in search of happiness. Within a year, I had begun to immerse myself entirely in the art. I learned the production history of all of the canonical ballets; I mastered the French pronunciation of every position, ballet master, and dance step; I spent at least twenty hours per week in the studio and invested countless hours in ballet classes, competitions, and auditions. Dance became an integral, primary part of my identity and lifestyle, the one constant through the tumult of my adolescence. By my middle school years, dance was as large a commitment as school. Nonetheless, I was happy dancing and I took pride in the work ethic dance had instilled in me. Ballet demanded that I learned to handle immense pressure at a young age and I was made to understand the importance of self-motivation and responsibility.
My mom said that she would protect us and that we would be fine. The storm just kept rolling in with heavy rain and lightning and thunder. We were on the top of the bridge for about 5 minutes when the traffic began moving slowly down the bridge. I felt relief and achievement.
As a part of the PVA dance program, I feel my perspective on both the scope of dance as an art form, and the multi-faceted approaches to dance, have broadened. I have had a great number of opportunities over the past three years to push myself and to witness others push themselves in creating and performing dance. I have also been humbled by the extent of talent I have witnessed in my peers and teachers, and these experiences not only allowed me to be more open to dance in all it 's forms, but also encouraged me to continually strive to better my dancing. Although I will most likely not pursue a career in dance, the work ethic and value system which I have learned in my three years of dancing with PVA, will continue to shape my perspective on myself and the world around me.