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IRISH FILM AND TELEVISION THE YEAR IN REVIEW – 2020 爱尔兰电影和电视回顾- 2020年
4区 文学 Pub Date : 2021-03-17 DOI: 10.24162/EI2021-10401
Roddy Flynn, Tony Tracy
Introduction Globalizing the Local: Irish Film and TV in 2016 Roddy Flynn and Tony Tracy 253 Sanctuary (Len Collin, 2016) Liz Carville 260 Reimagining an Irish City: I am Belfast (Mark Cousins, 2016) Sean Crosson 263 The Tragedy of the Commons: Atlantic (Risteard O'Domhnaill, 2016) Eileen Culloty 266 The Young Offenders (Peter Foott, 2016) Philip Devine 269 The Horrors of Grief: A Dark Song (Liam Gavin, 2016) Loretta Goff 272 Turn and Face the Strange: Sing Street (John Carney, 2016) Harvey O'Brien 276 Globalizing the Local: Irish Film and TV in 2016 Roddy Flynn and Tony Tracy "Ireland's presence globally is through its culture, that's our strongest identifier" Lenny Abrahamson By any standards, 2016 was an exceptional year of output and achievements for the Irish audio-visual sector which continued to grow in activity, ambition and international acclaim. Alongside headline achievements for feature films such as Room, Sing Street, The Lobster, The Young Offenders there were notable successes in animation, short films and documentary as well as a bumper--and unlikely to be repeated--level of drama and factual programming produced for the small screen as part of the 1916 commemorations. Thanks to such efforts, and despite an increasing tendency towards non-Irish settings and stories in feature film, one of the most striking elements of moving image production in 2016 was the degree to which this range of output balanced cultural and commercial imperatives in an era of increasingly commodified "content". Having said that, there was irony in the fact that having produced an unprecedented quantity (and quality) of material dealing with the historical origins of an independent Ireland in the early part of the year, the television sector underwent rapid and seismic changes in the second half of 2016 in an apparently irreversible shift towards globalized ownership and formats and a fundamental re-shaping of RTEs role as national broadcaster. Off-screen, 2016 was also marked by a perceptible advance in gender participation and a range of female-led successes and appointments. Prolific producers such as Rebecca O'Flanagan (Viva, Handsome Devil), Katie Holly (the period film Love and Friendship was one of the year's biggest and most unusual Irish success stories), Rachel Lysaght (Strange Occurrences in a Small Irish Village, Hostage to the Devil) and Leslie McKimm continued to build business momentum while also being to the forefront of institutional decision processes; Holly and Lysaght were appointed as members of the IFB and McKimm as Project Manager. Within the same organization the confirmation of Dr. Annie Doona as IFB Chair (following the untimely passing of Bill O'Herlihy in June 2016), marked the first woman in the role since Lelia Doolin in the early 1990s. Doona was instrumental in the formulation of the IFB's "six point plan" in Nov. 2015, "a holistic and integrated approach to achieve real change" around gender equality in the industry. Among i
介绍全球化本地:2016年爱尔兰电影和电视罗迪·弗林和托尼·特蕾西253避难所(伦·科林,2016)利兹·卡维尔260重新想象爱尔兰城市:我是贝尔法斯特(马克·考辛斯,2016)肖恩·克罗森263公地的悲剧:大西洋(里斯泰德·奥多姆纳尼尔,2016)艾琳·卡洛蒂266少年犯(彼得·富特,2016)菲利普·迪瓦恩269悲伤的恐怖:一首黑暗的歌(利亚姆·加文,2016)洛丽塔·戈夫272转向和面对陌生;《本地全球化:2016年的爱尔兰电影和电视》罗迪·弗林和托尼·特蕾西“爱尔兰在全球的存在是通过它的文化,这是我们最强大的标志”莱尼·亚伯拉罕森无论以何种标准衡量,2016年都是爱尔兰视听部门产出和成就非凡的一年,它在活动、雄心和国际赞誉方面继续增长。除了《房间》、《歌唱街》、《龙虾》、《少年犯》等故事片取得的重大成就外,在动画、短片和纪录片方面也取得了显著的成功,作为1916年纪念活动的一部分,为小屏幕制作的戏剧和事实节目也取得了巨大的成功,而且这种成功不太可能重演。由于这些努力,尽管在故事片中出现了越来越多的非爱尔兰背景和故事的趋势,但2016年运动图像制作中最引人注目的元素之一是,在“内容”日益商品化的时代,这种输出范围在一定程度上平衡了文化和商业需求。话虽如此,具有讽刺意味的是,在今年年初制作了前所未有的数量(和质量)与独立爱尔兰的历史起源有关的材料之后,电视行业在2016年下半年经历了快速而巨大的变化,朝着全球化的所有权和形式发生了明显不可逆转的转变,并从根本上重塑了rte作为国家广播公司的角色。在银幕之外,2016年在性别参与方面也取得了明显进步,女性领导的一系列成功和任命也取得了显著进展。多产的制片人,如丽贝卡·奥弗拉纳根(万岁,英俊的魔鬼),凯蒂·霍莉(年代电影《爱与友谊》是今年最大和最不寻常的爱尔兰成功故事之一),雷切尔·莱沙赫特(《爱尔兰小村奇事》,《魔鬼人质》)和莱斯利·麦基姆继续建立业务势头,同时也走在制度决策过程的前沿;Holly和Lysaght被任命为IFB成员,McKimm被任命为项目经理。在同一组织内,Annie Doona博士被确认为IFB主席(在2016年6月Bill O'Herlihy过早去世之后),这是自20世纪90年代初Lelia Doolin以来第一位担任该职位的女性。2015年11月,Doona在制定IFB的“六点计划”中发挥了重要作用,这是一项围绕行业性别平等“实现真正变革的全面综合方法”。其承诺之一是更加关注资金决策并提高其透明度,其结果是2016年7月增加了女性参与项目的发展资金比例,并于2017年3月建立了女性占多数的董事会。另一个值得注意的任命是Dee Forbes女士担任RTE总干事。此前,她曾在特纳广播公司(Turner Broadcasting)和探索频道(Discovery channel)担任高级职务,是在公共广播面临巨大挑战之际,首位在RTE担任该职位的女性,也是近50年来首位外部任命。...
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引用次数: 0
Going Home to Mayo, Winter, 1949 《回到梅奥的家》,1949年冬天
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180809
P. Durcan, M. Cannon
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引用次数: 0
A linha Dublin-Moscou: Rússia e a Poética do Lar na Poesia Irlandesa Contemporânea 都柏林-莫斯科线:当代爱尔兰诗歌中的俄罗斯与家的诗学
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180774
Kim Cheng
Este artigo apresenta uma visao geral acerca das possibilidades engendradas pela influencia da literatura russa sobre a poesia irlandesa. Em seguida, o foco se volta para a obra de Paul Durcan e a maneira pela qual a Russia e apresentada como um “outro lugar” que permitiu a Durcan ir alem da insularidade irlandesa e ampliar sua perspectiva. Desse modo, este estudo revela que o fato de Durcan voltar-se para a Russia e uma tentativa de romper com a nocao hegemonica de identidade, segundo a qual a relacao entre lugar e sujeito e indissoluvel. Destarte, a Russia e concebida como uma nacao imaginaria que permite ao sujeito se libertar da tradicao anglo-irlandesa, permitindo a destruicao de mitos que existem em torno da ideia de lar.
本文概述了俄罗斯文学对爱尔兰诗歌的影响所产生的可能性。然后,重点转向保罗·杜尔坎的作品,以及俄罗斯作为“另一个地方”的呈现方式,使杜尔坎超越了爱尔兰的孤立,拓宽了他的视野。因此,本研究揭示了德坎转向俄罗斯的事实,是一种试图打破身份霸权观念的尝试,根据这种观念,地点与主体之间的关系是不可分割的。因此,俄罗斯被认为是一个想象中的国家,允许主体从盎格鲁-爱尔兰传统中解放出来,允许围绕着家的概念存在的神话被摧毁。
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引用次数: 0
Orpheus Ascending The Berlin Wall Café by Paul Durcan 保罗·德坎的《俄耳甫斯登柏林墙》
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180784
Derek Mahon
"Orpheus Ascending The Berlin Wall Cafe by Paul Durcan", by Derek Mahon. The Irish Review, 1986 Published with the kind permission of Gallery Press.
《奥菲斯爬上柏林墙咖啡馆》,保罗·德肯著,德里克·马洪著。《爱尔兰评论》,1986年,经画廊出版社许可出版。
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引用次数: 0
One Giant Step on Behalf of the Elderly 为老年人迈出一大步
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180780
Celia de Fréine
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引用次数: 0
The Poetry Reading Last Night in the Royal Hibernian Hotel 昨晚在皇家希伯尼安酒店的诗歌朗诵会
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180806
P. Durcan, Stephanie Schwerter
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引用次数: 0
The Old Guy in the Aisle Seat 坐在过道座位上的老人
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180798
P. Durcan, E. B. Kumamoto
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引用次数: 0
Paul Pintando Paul: Autorretrato e Subjetividade na Poesia de Durcan
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180772
Kathleen McCracken
Em um numero significativo de poemas de Paul Durcan, um “personagem” chamado Paul Durcan faz uma aparicao. Em parte, traco autobiografico, em parte, construcao ficcional, o que essa persona enigmatica tem a dizer sobre autoria, subjetividade e potencial para autorretratos via forma poetica? Este artigo examina as multiplas implicacoes da aparente auto-inscricao de Durcan a luz da nocao de Barthes acerca da morte do autor, de Foucault sobre a funcao do autor e da propria percepcao de Durcan da colecao de poesia como uma galeria de imagens verbais.
在保罗·德坎的大量诗歌中,一个名叫保罗·德坎的“人物”出现了。部分是自传体的痕迹,部分是虚构的建构,这个神秘的人物对作者身份、主体性和通过诗歌形式自画像的潜力有什么看法?本文从巴特对作者死亡的看法、福柯对作者功能的看法以及杜尔肯对诗集作为语言意象画廊的看法,探讨了杜尔肯明显的自我刻画的多重含义。
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引用次数: 0
Casa Mariana Trauma Casa Mariana Trauma
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180801
Paul Durcan, José Roberto O'Shea
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引用次数: 0
The Geography of Elizabeth Bishop 伊丽莎白·毕晓普的地理
4区 文学 Pub Date : 2020-12-20 DOI: 10.37389/ABEI.V22I2.180804
P. Durcan, S. M. G. Anastácio
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引用次数: 0
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