Titlebook: Screening Contemporary Irish Fiction and Drama; Marc C. Conner,Julie Grossman,R. Barton Palmer Book 2022 The Editor(s) (if applicable) and

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书目名称Screening Contemporary Irish Fiction and Drama影响因子(影响力)学科排名




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书目名称Screening Contemporary Irish Fiction and Drama被引频次学科排名




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书目名称Screening Contemporary Irish Fiction and Drama年度引用学科排名




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书目名称Screening Contemporary Irish Fiction and Drama读者反馈学科排名

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2634-629X .Addresses some of the most‘important works that have impact.In this book, each chapter explores significant Irish texts in their literary, cultural, and historical contexts. With an introduction that establishes the multiple critical contexts for Irish cinema, literature, and their adaptive textual

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,Filming Global Ireland: Roddy Doyle’s ,ts past and its present. The Ireland of mid-century, evoked in horses and fiddles and a pre-Vatican II Catholic church, was juxtaposed with the Ireland of the end of the century, as grinding poverty brought into relief new pressures of social change, class shifting, and imminent transformation. Much

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,The Riddle of the Models of John Carney’s , (2016),al cycles and institutional structures that threaten the individual’s potential and the promise of exile as a means to escape such nets. Critical reviews of the film repeatedly characterize it as a mini-., noting its similarities to the 1991 film adaptation of Roddy Doyle’s novel, and describe it as

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,Mouth Not Eye: On Jordan’s Adaptation of Beckett’s ,kett, with Billie Whitelaw. Beckett’s version fixes a beam of light on Mouth in a dark space, flattening the plane of action and rendering mouth as a proto-image, but that image must be seen in a theater; Jordan splices camera cuts of the footage to show different sides of Moore’s head, creating an

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,“The Joyce of Filum: Cinematic Accounts of ,”, the cinema shaped both Joyce’s creative impulses and the way readers understand much of his writing, including a number of documentaries specifically dealing with . that complement these creative efforts..The documentary that I examine in this essay, Hilary Fennell’s ., takes an approach heretofore

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,“One Beetle Recognizes Another”: Translation, Transformation, Transgression in Cartoon Saloon’s Filth-century Irish poem, “Messe ocus Pangur Bán” in Old Irish. From the moment the white cat appears in the film in connection with the scribe and artist Brother Aiden, it is clear that this film is more than just a series of pretty pictures exquisitely rendered and influenced by “Celtic” art. It is d