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Gaelic games on film : from silent films to Hollywood hurling, horror and the emergence of Irish cinema / Seán Crosson.

By: Crosson, Seán [author.].
Material type: materialTypeLabelBookPublisher: Cork : Cork University Press, 2019Copyright date: ©2019Description: x, 232 pages : illustrations (black and white) ; 24 cm.Content type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781782052470.Subject(s): Sports in motion pictures | Gaelic games | Ireland -- In motion picturesDDC classification: 791.436579 CRO
Contents:
Gaelic games in early cinema -- Gaelic games in the newsreel era -- Hollywood hurling : representing Gaelic games in American cinema, 1930-60 -- 'Keep the mummers off the green ground of Croke Park' : remembering Rooney (1958) -- 'Ar son an náisiúin' : the National Film Institute of Ireland's All-Ireland-final films -- Coaching Irishness through film : Gaelic games in the film work of Gael Linn -- The critical turn : Gaelic games in film between the 1960s and 1980s -- 'The hurley is the new chainsaw' : Gaelic games in contemporary cinema -- Conclusion.
Summary: Gaelic games have repeatedly provided filmmakers and producers with a resonant motif through which they have represented 'perceived' aspects of Irish identity, 'perceived' as this representation has been neither straightforward nor unproblematic: in international productions in particular, Gaelic games have provided on occasion a short hand for regressive stereotypes associated with Irish people, including their alleged propensity for violence. For indigenous producers, on the other hand, Gaelic games afforded distinctive Irish cultural practices and as such were employed to promote and affirm the Irish nation, particularly as an indigenous film culture began to develop in the aftermath of World War II. As we enter the late twentieth century, a critical turn is evident within indigenous productions featuring Gaelic games though the dominant stereotypes of the past continue to appear. This study provides the first major monograph examination of filmic representations of Gaelic games, charting these representations from the earliest years of the twentieth century, including silent films such as Knocknagow (1918) to more recent productions Michael Collins (1996) and The Wind that Shakes the Barley (2006). Among the areas examined are newsreel depictions of Gaelic games; Hollywood's fascination with hurling in the mid-20th century (including in the work of Oscar-winning director John Ford), which led to a range of productions featuring the sport culminating with the Oscar-nominated short Three Kisses (Paramount, 1955); the importance of the depictions of Gaelic games to the emergence of a distinctive Irish film culture post WWII; and the role of Gaelic games in contemporary cinema.
Holdings
Item type Current library Call number Status Barcode
General lending MTU Kerry North Campus Library First Floor Main 791.436579 CRO (Browse shelf(Opens below)) Available 38888000944649
Total holds: 0

Enhanced descriptions from Syndetics:

Gaelic games have been a recurring motif in film, representing 'perceived' aspects of Irish identity that are neither straightforward nor unproblematic. International productions have used the sport to reinforce regressive Irish stereotypes such as a propensity for violence. For indigenous producers, on the other hand, the games symbolize Irish cultural practices and have been utilised to promote and affirm the nation with the rise of domestic filmmaking in the wake of World War II. Representing the first major study of Gaelic games on film, this book examines significant cinematic moments from early film (including Ireland's first feature film production Knocknagow (1918)) to newsreels; Oscar-nominated short, Three Kisses (1955); Palme d'Or winner, The Wind that Shakes the Barley (2006); Neil Jordan's acclaimed biopic, Michael Collins (1996), and much more.

Issued as part of book collections on Project MUSE.

Includes bibliographical reference (pages 206-218), filmography (pages 219-222) and index.

Gaelic games in early cinema -- Gaelic games in the newsreel era -- Hollywood hurling : representing Gaelic games in American cinema, 1930-60 -- 'Keep the mummers off the green ground of Croke Park' : remembering Rooney (1958) -- 'Ar son an náisiúin' : the National Film Institute of Ireland's All-Ireland-final films -- Coaching Irishness through film : Gaelic games in the film work of Gael Linn -- The critical turn : Gaelic games in film between the 1960s and 1980s -- 'The hurley is the new chainsaw' : Gaelic games in contemporary cinema -- Conclusion.

Gaelic games have repeatedly provided filmmakers and producers with a resonant motif through which they have represented 'perceived' aspects of Irish identity, 'perceived' as this representation has been neither straightforward nor unproblematic: in international productions in particular, Gaelic games have provided on occasion a short hand for regressive stereotypes associated with Irish people, including their alleged propensity for violence. For indigenous producers, on the other hand, Gaelic games afforded distinctive Irish cultural practices and as such were employed to promote and affirm the Irish nation, particularly as an indigenous film culture began to develop in the aftermath of World War II. As we enter the late twentieth century, a critical turn is evident within indigenous productions featuring Gaelic games though the dominant stereotypes of the past continue to appear. This study provides the first major monograph examination of filmic representations of Gaelic games, charting these representations from the earliest years of the twentieth century, including silent films such as Knocknagow (1918) to more recent productions Michael Collins (1996) and The Wind that Shakes the Barley (2006). Among the areas examined are newsreel depictions of Gaelic games; Hollywood's fascination with hurling in the mid-20th century (including in the work of Oscar-winning director John Ford), which led to a range of productions featuring the sport culminating with the Oscar-nominated short Three Kisses (Paramount, 1955); the importance of the depictions of Gaelic games to the emergence of a distinctive Irish film culture post WWII; and the role of Gaelic games in contemporary cinema.

Author notes provided by Syndetics

Seán Crosson is Associate Professor of Film at University of Galway. His main research interest for several decades is the depiction of sport in film and media, and previous publications include the award-winning monograph Sport and Film (Routledge 2013) and (as editor) the collection Sport, Film, and National Culture (Routledge, 2021).