Titlebook: Masculinity and Irish Popular Culture; Tiger‘s Tales Conn Holohan,Tony Tracy Book 2014 Palgrave Macmillan, a division of Macmillan Publishe

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Mirror Mirror on the Wall: Unwanted Reflections in , (2012)he Liberty House council complex close to Foley Street in Dublin’s north inner city. Next, a bare-chested young thug grabs me away from the girl and pushes me into a very small bathroom, dimly glowing in eerie red light. ‘Have a look at that’,. he orders. Squinting through peepholes, I witness a rec

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Othering Masculinity in the Multicultural Irish Thriller position of men in a New Ireland, at a time when categories of Irishness and masculinity became manifest in varying formulations. While these films explore Irish manhood as a contested category during the economic boom, questions of national and personal identity had come under serious scrutiny sin

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From Symbol to Symptom — Changing Representations of Fatherhood in Recent Irish CinemaTiger. This intersects with other issues around masculinity but has some very specific circumstances that make it distinctive. In part what I am interested in is discussing how Irish cinema replaced a postcolonial discourse with another, or others, and how this in turn affected the manner in which t

教育学

‘He’s a Good Soldier, He Cares About the Future’: Post-Feminist Masculinities, the IRA Man and ‘Peac Civil Rights movement) and is now perceived as being ‘over’ as a consequence of the peace process and the signing of the Good Friday Agreement in 1998. As the peace process has begun to ‘bed down’ a number of theorists have turned their attention to critically examining the role that mass media rep

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Body of Evidence: Performing more to do with creating a post-conflict masculinity that audiences can identify with in the context of the peace process and, in this context, that audiences can extend understanding and forgiveness to. This trend is particularly noticeable in films about the 1981 hunger strike.

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Othering Masculinity in the Multicultural Irish Thrilleran, metrosexual, fluctuating state, as hegemonic structures shifted.. This chapter examines constructions of Irish masculinity in three films which assert its diversity, non-fixity and instability: Ciarán O’Connor’s . (2009, first released as . in 2004), Brendan Muldowney’s . (2009) and Neil Jordan’s . (2009).

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