The Black Irish Onscreen

This book examines the position of black and mixed-race characters in Irish film culture. Exploring key film and TV productions from the 1990s to the present day, the author interrogates concepts of Irish identity, history and nation, making a significant theoretical contribution to scholarly work on representation and identity in Irish film.

Autorentext
Zélie Asava is Programme Director of Video and Film at Dundalk Institute of Technology, where she teaches courses on film and media theory and national cinemas. She has published journal articles and essays on questions of race, gender and representation in Irish, French, American and African cinema.

Zusammenfassung
«[This book] is therefore a very fruitful read for scholars working on contemporary Irish cinema.»
(Isabelle Le Corff, Black Camera, Vol. 7, No. 1 (Fall 2015))

Inhalt
Contents: 'No Blacks, No Dogs, No Irish': Being Black and Irish in Neil Jordan's The Crying Game (1993) and Breakfast on Pluto (2005) Gendering the Other: Raced Women in Irish Television (Prosperity (RTE, 2007), Love is The Drug (RTE, 2004)*and Fair City (RTE, 1989-present) New Identities in the Irish Horror Film: Isolation (O'Brien, 2005) and Boy Eats Girl (Bradley, 2005) Black and Mixed Masculinities in Irish Cinema: The Nephew (Brady, 1998), Irish Jam (Eyres, 2006) and The Front Line (Gleeson, 2006) Thrill Me, Kiss Me, Kill Me: Trafficked (O'Connor, 2009) and the Multicultural Irish Thriller The Raced Stranger in Contemporary Cinema: Between the Canals (O'Connor, 2011), Sensation (Hall, 2010), The Good Man (Harrison, 2012) and The Guard* (McDonagh, 2011).