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Habitually fractious and often divided, merchants tended to unite when faced with a common threat, thus further blurring the line between private rights and public justice. When the magistrates acceded to the request to incarcerate the Irish convicts in , they were not simply "acting at the dictation of local merchants".

Health concerns were particularly pressing: The guard assigned from the army garrison soon became sick, and a surgeon was contracted to provide medical treatment to the convicts, though most of them had apparently become immune to the fever. The task of feeding 80 people every day proved much larger than had been anticipated. The magistrates then asked Lieutenant-Governor Elford, the commander of the St.

To justify this move, the justices stressed that because of the food shortage, signs of mutiny had begun to appear. Elford readily agreed to offer supplies from the garrison — most of which had already been condemned as unfit — and the convicts were thereby provisioned until their departure in October. Only the male convicts were incarcerated; the 12 women — "more abandoned than you can conceive of", one commentator declared — apparently stayed wherever they chose.

Keeping nearly 80 men isolated in a makeshift prison proved to be a near impossible task. A pass system was established to allow individual convicts to go to St. In spite of attempts to regulate their movements, escapes were bound to occur. During the night of 4 August two of the convicts allegedly told him: When Governor Milbanke arrived he canceled the pass system and decreed that the convicts could enter St.

Despite periodic faction-fighting, the Irish men and women working in Newfoundland were a relatively cohesive group with a distinct identity, most of whom were bilingual or spoke only Irish. In , for example, Governor Francis William Drake had warned that the Irish were "notoriously disaffected to the Government, all of them refusing to take the Oaths of Allegiance when tended to them", and in fines were issued for hoisting Irish colours. By July a series of problems in the civil courts had burst into a large-scale crisis, threatening the customary judicial system on which the governors had relied since Governor Milbanke summarized the crux of the matter: This left the naval surrogates to shoulder an increasingly heavy case-load, yet their powers also derived from customary law.

Pellew appealed to Admiral Mark Milbanke, who was to begin his first year as governor that summer, to help him secure a defence lawyer from the British Admiralty, explaining that it would be "extremely cruel to subject me to such an expense for having simply done what I conceived to be my duty". According to the report, neither the governor nor the surrogates could legally sit as judges in civil causes. To justify their actions, the magistrates stressed three points: Milbanke commended the justices for acting "very prudently".

Though fully aware of the questionable legality of detaining men and women who had not been convicted in Newfoundland of any crime, Milbanke judged the dangers posed by their presence to be the more important consideration. By complying with "the desire of the inhabitants", he explained, the magistrates had prevented "many irregularities in the fishery which would have been the consequence of suffering such a banditti to go at large about the Island". But Milbanke also identified two outstanding problems: Milbanke directed the magistrates to convene a meeting of "merchants, traders, and inhabitants", and to propose a plan whereby half of the expenses would be paid by St.

That no Papist servant man or woman shall remain in any place where they did not fish or serve during the summer preceding. That not more than two Papist men shall dwell in one house during the winter, except such as have Protestant masters. That no Papist shall keep a publick house or vend liquor by retail. That no person keep dyeters [dieters] during the winter. That all idle disorderly useless men and women be punished according to law and sent out of the country. Enforcement varied according to administrative initiative: In , for example, an order forbade Irish women from coming to Newfoundland but this was not widely enforced.

Attitudes of governors ranged from tolerance to outright prejudice, but local authorities did not actively pursue religious persecution until , when Governor Richard Dorrill outlawed the saying of mass to allay fears arising from the murder of a St. His successors adopted a modus vivendi which developed into limited toleration in and a formal grant of "full liberty of conscience" by Governor John Campbell in , though the status of Roman Catholicism remained insecure. Milbanke wanted to uphold the regulations governing the movements of masterless servants.

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Following established policy, he strictly forbade the "harbouring or entertaining of dieters", and warned that "persons coming from other parts of the Island to St. At a meeting on 14 September, a committee of 12 men, seven of whom had attended the 22 July assembly, proposed to raise a local tax to pay for deporting the convicts. On 16 September he sent a circular letter to justices of the peace in each district in Newfoundland, directing them to collect the duties recommended by the St. Facing stiff opposition from some merchants, Osborn referred the matter to the British government.

Placentia , Harbour Grace , , St. Whereas upon the representation of the principal inhabitants that a tax is absolutely necessary for the repairing of the gaol, keeping up the railing of the church yards, the support of the poor, and other necessary services for the publick that may occur, [the court has] ordered a tax of two shillings to be levied on every boatkeeper, fisherman, and servant employed in the fishery in the district of Placentia, for the above services to be continued for one year only.

Pointing out that the convicts posed a major threat to the fishery, he asserted that everyone on the island was "equally interested in getting rid of such a banditti". As long as there were no social disturbances, petitions from merchants or remonstrances in parliament, the British government remained content to allow Newfoundland governors to take care of local problems as they saw fit. Graham later testified that this rather spurious use of the commission was designed so that, "as little alteration as possible might be made from the old mode of proceeding".

As he explained it, [Governor Milbanke] appointed the captains of the ships of war to be Judges at the out ports on their respective stations, so that they only changed the name of Surrogate with that of Judge, and continued to do the business exactly or nearly in the same manner as they had before been used to it; the principal alteration was in the appointment of the court at St. Like the decision to deport the Irish convicts, Milbanke would have to wait until he returned to London to secure approval for his reforms.

He began by stressing that prior to , "open and professed villainy, it seems was little known" in Newfoundland, but had risen dramatically since the Irish convicts had arrived. In addition to noting the dangerous fever brought by the convicts, he was careful to emphasize that he had received no directions from the British Admiralty and had consulted with the "principal merchants of this town" before taking any action. No evidence exists to support the assertion that he sent the convicts to Portsmouth, instead of Plymouth, which was closer to Ireland, out of hopes that they would then be sent to New South Wales.

He did not have the luxury of time: Further, Milbanke had no legal prerogative to justify deporting the convicts either back to Ireland or to another British territory. And if he allowed them to stay he would endanger not only the safety of the townspeople but also the lives of the convicts themselves, who would be hard pressed to find sufficient food and shelter over the winter. Given this limited range of options, sending them to Spithead represented the most defensible course of action.

The advertisement for a ship had stipulated that the master provide "between 60 and 80 men and women" with sufficient food and water for an Atlantic crossing. Robert Coysh, master of the Dartmouth brig Elizabeth and Clare, signed a contract with the governor on 23 October. Milbanke directed Coysh to notify William Grenville upon his arrival and then to await further orders from the British government.

He also ordered John Lee, barrack master of the St. The contribution of St. Admitting that the plan proposed by the St. Many merchants and planters in the outports doubtless felt that the convicts did not threaten their interests — or no longer did so — yet others were willing to cooperate as much as possible. In September a committee of merchants met in Harbour Grace to discuss the plan for deporting the convicts and informed the governor that they would raise the required funds.

Milbanke assured them that he had "nothing more at heart than the public good", confessing that the entire affair had given him "infinite trouble and uneasiness". Governor Milbanke departed St. On 17 November William Grenville received the papers sent by Milbanke, and the Admiral himself was in London two days later. While the convicts remained aboard the ship anchored at Portsmouth, the British government responded to the situation. Grenville drafted a warrant authorizing Coysh to transport the convicts to Ireland and sent this to Lord Thurlow, the British Lord Chancellor.

The brig was apparently in poor condition, however, and leaking too much to leave Portsmouth without repairs. The situation presented a potentially serious dilemma: He also made one point clear: Taking the opportunity to urge the Irish government to stop sending convict ships to the Americas, he affirmed: John Fitzgibbon, the Lord Chancellor of Ireland, pointed out that Ireland had "for time immemorial" sent convicts to the British colonies in America.

Fitzgibbon asked that no action be taken until the legal quandary could be ironed out. He ended by disclosing that the government had dispatched a revenue cruiser to prevent the convicts from being landed in Ireland. On 2 December Dublin repeated its attack on the Newfoundland governor. Fitzgibbon asserted that Milbanke "has done an act highly indiscreet at best" and caustically remarked that the Admiral would never deign to come to Ireland nor to "feel any comments which our worthy Whigs may make upon him".

In a statement often cited by historians, Grenville declared: Newfoundland is in no respect a British colony, and is never so considered in our laws. I am not quite certain, but I believe that this policy is carried so far as even to authorize the Governor to remove by force the British fishermen who may show a disposition to settle on the island, and remain there during the winter.

The Irish government could therefore detain the convicts in Dublin and arrange to transport them somewhere else. In official terms, Newfoundland was not a colony but a seasonal fishing station. It was, to repeat a hackneyed quotation, "a great English Ship moored near the Banks during the fishing season, for the convenience of the English fishermen". To back his claim he cited "the Act of William and Mary and that of respecting the fishery there". Fitzgibbon reported that the Irish government had recalled the revenue cruiser and, while still maintaining that Milbanke had acted improperly, informed Grenville that he had reconsidered the affair in light of the fact that "Newfoundland is not a British colony".

Compiled by Aaron Graham, it outlined the problems in the civil courts and argued strongly in favour of the Court of Common Pleas. The Judicature Act was limited to one year, during which John Reeves, the newly-appointed chief justice, would assess the requirements for the administration of law in Newfoundland. He concluded by recommending that the British government establish some type of legislature in Newfoundland. Specifically, Parliament "should give out of its hands, a small portion of its Legislative Authority and confer it, where it can be exercised with more circumspection and effect".

I propose that the Governor of Newfoundland should be authorized with the advice but not to be controlled by such advice of a certain number of persons not being more than five justices of the peace, five merchants, five boatkeepers, and five other persons, whom he may please to summon meaning to select some out of the different classes of men in the Island and the Chief Judge and two Assessors of the Supreme Court, to make bye laws, and regulations. After visiting the outports in , he affirmed, "I am convinced, from what I there saw, that there is less need of regulations than of persons to execute them; and that instead of making new laws, we should first find a new set of magistrates to execute the old ones.

Civilians began to fill the surrogate bench after , though the governor and his junior officers remained active in local government. In a second Judicature Act created a supreme court for both civil and criminal jurisdiction, and entrenched legally the system of surrogate courts that had long operated customarily. Far from being seen as an aberration, this preference for local customs conformed to the English common law tradition. As Reeves explained to the House of Commons in It is a peculiar property of the law of England to give sanction and effect to local usages and customs that have prevailed for length of time.

If the law of England is the rule of decision in Newfoundland, the customs and usages of Newfoundland would thereby become established, because the law of England opens and receives the customs and usages of the place into itself as a part of it, and the usage and custom would then become the law of the land by virtue of the force and efficacy given to them by the law of England. The administration of justice in pre Newfoundland therefore appears to have been largely customary, often ad hoc, and in many respects contrary to statutory law.

As the response to the landing of Irish convicts demonstrates, government in Newfoundland — consisting of magistrates, merchants, the civil secretary and the naval governor — reacted effectively when confronted with major problems. Despite the declaration by Grenville that Newfoundland was in no sense a colony, London knew that settlement, government and law operated year-round after In addition to annual reports, the British government received detailed representations in , , , and The statements made by British officials during their debates with Dublin in cannot be separated from the specific political context of the Irish convicts crisis.

Governor Milbanke consulted the justices of the peace and the merchants, who had formed a committee, before issuing instructions and continued to solicit their cooperation until his departure in October. With neither an elected assembly nor an independent press to monitor or question decisions, governors were relatively free to act as they saw fit. They had no vested economic or political interests to protect locally, aside from their naval squadron, and they were comparatively free of the parochial politics that eclipsed many colonial governments.

Since their appointments were usually for three years — prior to , they resided at St. Accountability to London tempered this political autonomy: Pragmatism guided the implementation of imperial policy to a greater degree than statutory law or mercantile tenets. When the next large-scale crisis hit Newfoundland in , magistrates, merchants and the governor again managed the local response.

In the face of disastrous fires, waves of bankruptcies and outbreaks of civil unrest, merchants in St. These efforts were remarkably similar to the actions taken a generation earlier. The success in coping with the influx of Irish convicts illustrated the ability of local government to protect propertied interests. From the s to the s the governor, magistrates and merchants constituted a de facto legislature and executive to approve and enforce local policies.

This arrangement was limited to specific projects, such as the building of court houses and other public works, or defraying the cost of criminal trials. Merchants did not become significantly involved in local government unless they perceived their interests to be directly threatened, as they did in , and Rather, it followed the path of least resistance until forced in to legislate the minimum changes required for a functional judiciary.

An act passed in conferred limited property rights; the Judicature Act bestowed piecemeal reforms; and the Royal Charter awarded official colonial status but did not provide for representative institutions beyond a town corporation. A generation ago Ralph Lounsbury suggested that the island endured a limited political and legal system because it had a primitive society in which there existed neither need nor demand for representative government.

More specifically, to conflate the growth of civil society with the operation of an effective colonial state obscures the function of customary institutions. In colonial America and the early Republic, state authority was generally weak and institutional coercion relatively limited compared to Great Britain. Local law-enforcement and penal practices varied markedly from region to region; in Upper Canada too the central government had difficulty enforcing its authority in rural townships.

To view government from the altitude of imperial policy overlooks much of what was happening on the ground. Given the range of available resources and the nature of local conditions, the seasonal judiciary of the naval governor and his junior officers provided a remarkably effective administrative regime. The involvement of merchants and magistrates in local government — particularly their use of ad hoc committees — formed a substitute for the formal institutions granted to most colonies in British North America.

The malleability of the common law tradition had allowed 18th-century Newfoundland to develop a legal system that met the needs of those in power. Irish Convicts in Newfoundland, Part I", Newfoundland Studies, 13, 1 Spring , pp. A Study of Retarded Colonisation London, , p. Merchant-Settler Relations in Newfoundland, Toronto, , esp. Newfoundland, ", Journal of Canadian Studies, 23, 3 Fall , pp. VII Toronto, , pp.

The Legal Development of Newfoundland, ", in L. Essays in Modern Legal History Toronto, , pp. The film charts the rise of the ballad and folk group The Dubliners and how folk singer Luke Kelly's unique musical style and strong beliefs made him a pivotal national figure". Joan Lambe, 1st a. Daisy Cummins, archive research: Christine Thornton, foreign archive research: Ann Marie Eviston, trumpet solo: Donal Gillan, Conor Kenny, camera trainee: Maurice Swan, make up: Barbara Conway, post production facilities: Paddy Gibbons at Number 4 Studios, legal services: Network Ireland, Film Archive courtesy of: Richad Dann, Bronze bust of Luke Kelly by: All efforts have been made to source ownership of the archive material used in this film.

If any omissions have occurred, they are entirely unintentional. Richie Buckley, story cnslt: Mary Maher, narration written by: Judy Friel, narrated by: Stephen O'Connell, special thanks: Worldwide Distribution Ferndale Films Ltd. Rosie Rathdonnell, Luke Kelly Collection available on the Outlet label nationwide, All efforts have been made to source ownership of the archive material used in this film.

If any missions have occurred, they are entirely unintentional. The film includes interviews with Nick Cave, MacGowan's parents, and his girlfriend Victoria, as well as concert footage of the Nips, the Pogues and the Popes. Shane takes us into his home in North London and on a guided tour of his haunts, watering holes and gig venues.

He shares his thoughts on a wide variety of issues, including songwriting, literature, politics, loneliness, lost love, exile, North Tipperary, drink, sex and rock 'n' roll. Shane, Victoria and friends enjoying a meal outside a restaurant on a London high street. His father, Maurice McGowan. The Pogues perform the song Shane talks to camera intercut with scenes from London street life whilst 'The Aul Main Drag' plays in the background.

The above and his Aunty Monica chat about their family's musical tradition. Shane and his father talk about their move to London, his poor schooling, Therese and Shane's breakdowns and Shane's dabbling in drugs. His father talks of Shane's expulsion from school. In a pub Shane is asked about the above. Victoria discusses her first meeting with and her eventual love for Shane.

Shane giving money to a beggar whilst walking London streets. In an old fashioned ballroom, dancing with Victoria. Victoria talks of Shane's romantic ideals. Shane signing autographs etc. Shane reminisces about Punk. Archive footage of a teenaged Shane pogo-ing. Shane at a Sex Pistols gig. Shane talks about the Sex Pistols. Archive footage of Shane's first band 'The Nips'. Phil Gaston reminisces with regard to managing 'The Nipple Erectors' and the problems with their original name. Various stills of 'The Nips'. Gaston and O'Mahony discuss the genesis of 'The Pogues'. The promotional video of 'Waxies Dargle' by The Pogues.

Phil Chevron discusses the genesis of 'The Pogues'. O'Mahony reflects on Shane's celebration of his Irishness. Promo for 'Streams of Whiskey'. Chevron talks of his first time hearing The Pogues. An archive interview with a youthful Shane. Promo video for 'Dirty Old Town'. Archive footage of The Pogues' in the recording studio with Elvis Costello.

Shane reflects on recording 'Rum, Sodomy and the Lash'. Shane at home in London watching 'Mean Streets' whilst discussing subjects as diverse as his musical inspiration, the church and the stock market. Phil Chevron reflecting on personnel changes within the line up of The Pogues. Nick Cave admires Shane's lyrical talent. Promo Video intercut with an orchestral performance of 'A Rainy night in Soho'. Shane entering a small drinking club, possibly The Colony Rooms in London. Playing an upright piano in the above. Victoria on Shane's music.

Nick Cave on Shane's mastery of the opening line. Shane on the production of 'Fairy tale Shane and Joey Cashman at the bar on a ferry to Ireland. Cashman talks of his job tour managing The Pogues. Chevron's views on how drinking affected The Pogues. Victoria on Shane's drinking. First Gaston and O'Mahony then Cashman discuss rifts in the band. Shane on the concept of democracy within the band. Shane's drinking according to Chevron. Nick Cave mourns a bad gig. The promo for 'Summer in Siam'. Chevron on 'Hells Ditch', the drinking taking over and his giving up.

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Shane's family home in Tipperary. Chevron denial of Shane's sacking. Cashman's contradiction of the above. Shane on Irish music. Shane on his being a 'babe magnet'?! Shane with his Parents and sister. A later Late Late Show interview with Shane. He gives his opinion on why Sinead O'Connor shopped him to the police. Victoria's version of the above events. Nick Cave on the subject of drugs. Shane drinking gin as he and Victoria walk through fields, mooing at cows. Victoria reflects on inability to think of Shane not drinking. Shane sings to Victoria as they walk.

Gaston on the question of Shane as an alcoholic. Chevron on his surviving The Pogues. Hazel Masterson, archive research: Nico Vermeulen, title dsgn.: Liz Walshe, online ed.: Anthony Kavanagh, audio post-production: Cilian Fennell and Michael O'Meallaigh, exec. Kirsty Fitzsimmons, Rostrum Camera: The traumatic experiences of Christine Buckley at the Goldenbridge Orphanage and on her subsequent search for her birth parents who left her in the care of the institution. The film features dramatic reconstruction's.

Notable for having initiated a wave of allegations and investigations in other religious and secular caring institutions. The Sisters of Mercy added a rider to the programme which offered psychological counseling to victims of abuse. Louis Lentin, Goldenbridge Girls: Eugene Fanning at Arthur Cox, accnt.: Declan Lernihan at GLD, ward.: Dorothy Mac Gabhann, Rosary Beads: Bernadette Fahy, sound mix: Paddy Gibbons at Avondale, a. Darby Carroll, Pat Hayes, light. Peter Dorney, Nick O'Neill, ed.: His youth brought him from orphanages to Christian Brother schools to detention centres and jail, and, ultimately, led him to suicide.

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Simon Willis, Ray Cross, ed.: Harry Purdue, clapper loader: Frank Monaghan, Mark Byrne, a. Daniel De Chena, Michael Durand, art. Monica Ennis, Jill Graves Power, make up: Kevin McCarthy, Mike Casey, carpenter: Mary Callery; special thanks to: Note The film features dramatic reconstructions. This program featured a helpline number at the end of the closing credits. Liam McGrath, in order of appearence d: Garry Keane, film and dial.

Garry Keane, Liam McGrath, p. Ken Morse, post-production facility: City Air Express, sound studio: Network Insurances, sound transfers: Ardmore Studios, Windmill Lane, film stock: Richard King, World Wide, negative cutters: Following on from Quinn's three part Atlantean, this documentary investigates the Viking connection. The local singing tradition offers his theory some support. Screened at the 10th Galway Film Fleadh, July Edel O'Brien, Norbert Payne, s: Roger Doyle, col, 61 mins, Shotlist Scenes are as follows: Mallin captured prisoners are marched through barrack yards crowds view ruins in city centre some prisoners return, huge welcome for them in Dublin Modern Dublin, - a montage of the city 50 years after the rising City centre Liberty Hall Ringsend Generating Station Finglas Transformer Station R.

Studios schools house construction Patrick Scott paints sunrise. Reference Vision Spring p. George Morrison Productions for Coiste Chuimhneachain , m: Department of Foreign Affairs. The film details the social environment from which Kelly emerged and emphasises the role of alcohol in his descent and religion in his redemption. Jas Brady and Brian Kelly, assoc. Brian Kelly, co-produced by Nessbury Entertainments Ltd. Margaret Jennings, trainee PA: Graeme Haughton, film ed: Linda Nartey, original m: John Flatley, music production concluded: Richard King, rostrum camerawork: Chris Shelly at Frameline, online ed: Terry Monaghan, editing facilities: CFS; The producers wish to acknowledge the support of: Zasto Zena Zasto, col, 50 mins, It is Christmas and the Salvation Army are out.

RUC and the Army. Shots of the City at night. People singing religious songs in a hall. Man talking about how he found Jesus 26 years ago. A man singing country and western style religious songs. People preaching by the sea. Followed by two men getting baptised in the sea-water. The city centre with men carrying and wearing signs. Followed by a group of people singing in the street. A man preaches outside a shop. Man talks about his conversion to Jesus and he preaches to the public.

Followed by a man on a combine harvester. Religious messages are seen on billboards and walls etc. People going on a march. A man preaching on a podium. A man is preaching on stage to a big crowd. Religious messages on rocks by the sea. More scenic shots and street shots. Man singing in a car. There is a voiceover of quotes from the Book of Revelation. The film is given a five star rating. Horizontal and vertical scratching occurs and there is constant vertical scratching to the left. Damian Gorman, Jan Ashtown, a. McEvoy in back row, A. Byrne - 'Old Irish Free', J.

Jean Claude Piroue, dop: Hans Lutz, Konrad Hoffer, s. A bar woman recounts her past, including her one time ambition to become a nun amongst other things. Maureen Carterward, Joan O'Rourke, d: The film begins at a National Identity Exhibition at Kilmainham Gaol and continues as featured artists discuss creating a visual tradition in Ireland.

Dublin Temple Bar Studios, Co. Maurice Swan, graphic dsgn: Copyright Araby Productions Yeats; Film Archive Sources: The Story of Michael MacLiammoir. Film West, Issue Donald Taylor Black, In memoriam: Mary Manning , special thanks: Yeats; film archive sources: Sarah Francis Dublin , Marc E.

Nico Vermeulen, graphic dsgn.: Dave Moran, key grip: Maurice Swan, Stephen Doyle, colourist: Tony Russell, online ed.: Veronica Jane O'Mara, cnslt: Ireland of the dreams is part mythology, part self delusion , and part hard sell tourism by the folks back home. But that dream is all to easily broken. In a world of mass communication and jet travel , it's no longer a long way to Tipperary , and the mythical Tipperary is dominated by Intel factories , dormer bungalows , and wine bars.

Both the emmigrant and native Ireland need to address a new Irish, and come to a new understanding of that intangible spirit which is Irishness. Perhaps its in a' virtual ' Irish that the Irish, the Northern Ireland, the American Irish, the Shamrock Aborigines, the Irish everywhere, co exist, despite their differences. Taken from ' The Irish Empire ' A documentry in five parts. Fintan O'Toole, series consultants: Jessica Moss, Maire Doherty, post production supervision: Glen Kyte, business affairs: Produced in association with Australian Film Finance Corporation Programme rights company with assistance from NSW Film and TV office,and with the support of investment incentives for the Irish film industry provided by the goverment of Ireland.

Archival material, interviews and a dramatisation of a school passing from the control of the Brothers to lay teachers, are combined in this subjective view of an order which has shaped the lives of many Irishmen. Using actuality footage of key national events, including a Saint Patrick's Day parade and the Eucharistic Congress in Dublin; the negative memories of past pupils; and dramatised sequences, which focus on both children and the legacy of that education on those children as adults, the film examines the Christian Brothers and their influence on generations of Ireland people.

In the drama sequences, the Christian brothers' world of male camaraderie, religious discipline, their traditional Gaelic historical view, their severe corporal-punishment approach to education, and their commitment to teaching in Ireland, are scrutinised. In one family, the mother's concerns at the treatment of her son lead to pressure on her husband to complain to the brothers about corporal punishment at the school. As the numbers attending the school decline, the principal discusses with both a lay teacher and with a property speculator the possibility of selling part of the school's land for development and of amalgamating the school with a local community school.

Surplus land belonging to the brothers is handed over to the community school. The principal and the other brothers are concerned with change and loss of respect for them. As the school closes, most of the brothers leave. Only Brother Kilmartin remains to look after the deserted school, but, he, too, is eventually collected by another brother. Though one of the film's sponsors, RTE did not show the film until ten years after it was made.

Black, Dermot Healy, The Brothers were played by: Damian Moore 'They used to say, no bodily contact and we used to get beaten up when we wrestled. Moore; 'This whole question of the emotional area is very much, to me, a very recent development. Pat Hayes, production crew: Liam Mulcahy; pick-up ph.: Aidan McGuinness; post production crew: Rob Selleck, sound transfers: MZU ; film ed.: Cathal Black; 'Our Boys' could not have been made without the following people: Gael-Linn Video Extracts Adviser: The film incorporates some discussion of the social and political context in which the association was both originally founded and still exists.

Note RTE Archive holds episodes 1 to 3 of 4. Louis Marcus, in order of appearence ph: Liam Saurin, Script adviser: Artane Boys Band, Musical Directgor: Art O'Laoghaire, 2nd unit: Pat Gibbons, Picture Sources: Irish Film Institute, Mr. Noel Browne by Michael D. D which takes place during a train journey. On a train journey across Irish, Dr Noel Browne argues for "imaginative patriotism" in this provocative documentary portrait by Michael D. Noel Browne Patriotism Michael D. Higgins Health Politics Production credits p.

Classical Antiquity in Promotional Tracts for the Settlement of New England

Frank Stapleton, roduction credits in order of appearence: Telegael; interview and script: Hercules Dux Ferrarial Nomos No. T, Jacqueline Beusse, Dr. Standard 8mm Footage from: Andy Nathan, Frank Nolan, S. Kennedy to Ireland in with some commentary on his symbolic status as a member of the Irish diaspora. Darragh Byrne, in order of appearence special thanks to: Ronan Fox, Seamus Deasy, additional film footage: Finn Van Gelderen, ed: Guy Montgomery, Anner Facilities, m: Piaras Mac Coinnaith, col, 26 mins, vid, , Copy: Bernie Mulfaul, tour manager: Sean Duggan, Family stills courtesy of the Moore Family; thanks to: Kildare, Roadstone Ireland Ltd.

Film and Lighting facilities, insurance: Rock Solid Staging; a. Cian De Buitlear, focus: Brendan Galvin, Ken Byrne, clapper loader: John Moore, camera trainee: David Durney, Tony Swan, grips: Philip Murphy, Joe Quigley, stage and set design: Nuala O'Connor, Terry Moore, rostrum: Ken Morse, camera trainee: Nuala Roche, Dolores Hegarty, online ed.: Kieran Corrigan, Mattie Fox, ed.: Donald Taylor Black, elec: John McCullagh, video tech: Alison Moxey, video grading: Glenn Kyte, addtl s: Brendan Campbell, dub mix: Sean Corcoran, picture ed: Maurice Healy, exec p.

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Donald Taylor Black; p. The subject of each episode was a different person from a different social background and of a different age from the previous one. Keywords Emigration Morrison Programme Production credits p. Enda Boner - Telegael, ed: Guy Montgomery, Anner Facilities, p. Shahram and Aideen Emdadian plan to move with their young family from Tallaght to California.

Series following the experiences of several Irish people upon emigrating to the United States. This documentary seeks to address questions of the role and function of trade unionism in modern Ireland society. Galbraith Production credits p. Gerry Gregg, in order of appearence dop: Shane Deasy, film processing: Glenn Kyte, post-production facilities: Haughey, were accused of conspiring to supply weapons to Northern Ireland paramilitaries.

Current politicans, including Desmond O'Malley, offer perspectives on the incident. Michael Hewitt, Deirdre Younge, in order of appearence reporter: Mike Milotte, thanks to: Diarmaid de Paor, Jim Jennings, p. Kevin Cummins, programme co-ord: Mike Travers, graphic dsgn.: Maura Osborne, rostrum c.: Brian Drysdale, Tim Lawless, 2nd unit d: Ray Haughey, post-production sound: Aisling Drury-Bryne, Brian Longridge, light. Jim Sheridan, in order of appearence acknowledgements: Ann Brehany, director's a.: Features some dramatic reconstruction.

Niamh Barrett, administrative a.: Liam McGrath, lighting a.: Garry Keane, film ed: Linda Nartey, online ed.: Pat Hayes, sound studios: Ardmore Studios, Beacon Studios, rostrum: Alan Lambert, production back-up: The film explores both the positive and negative results of the arrival of a full scale well financed film crew to a relatively isolated rural area where several locals spoke only Irish. Adare Productions do TnaG, d: Ken O'Mahony, Paul Warde, fuaim: Dave Gibson, tape operator: Tony Brady, online ed.: Colm O'Brien, title sequences: Paddy Gibbons, archive research: Liam Wylie, Super 8mm ph.: Cecelia Nordlung, Krister Jonsson, s.

Niels Pagh Anderen, col grading: Birger Henningsson, Eva Frenning, tech support: Ulf Sodergren, thanks to: Dave Duce, Vince Pujo, s: Gentry Smyth, Scott Bardolf, graphics: Eddie Sheanon, VO rec: James Daly, online ed: Bernard Clarke, assembly ed: Brian Mulvany, Genevive McAuliffe, research: Robyn, a paedriatric physician, and Frank, a social worker, are seen going through a long and painful healing process involving Maeve's imaginary Planet Creature where cats reigned supreme and every creature had wings.

Erin McBean, session musicians: Emma Nixon, Tony Cavel, anim: Jane Scragg, online ed: Michelle Ikiua, Jata Haan, post. Hynes Lawyers, Kate Hynes. The club was the haunt of teenagers from to when a fire destroyed the building and the club was relocated at St Paul's School in Raheny.

Tom Comerford, John Dunne, addt. Daniel O'Hara, Carol Tormey, s: Sinead Kitching, opening sequence: Shane Woods, Zoe Ellis, colourist: Dave Hughes, online ed: Mark Henry, prod team: Paili Meek, Eric lacey, Sarah Neville, a. Joe McElwaine, thanks to: The programme features dramatic reenactments of some of the key skirmishes. The film strongly emphasises the links between political groups then which have now become distant and violently opposed to one another and attempts to debunk popular historical myths". Keywords Rebellion Irish History Production credits ceamara: Without electricity or running water, let alone proper training facilities, Francis reached the highest accolade in amateur sport and fulfilled a lifelong dream by qualifying for the Olympic games in Atlanta He was the first traveller ever to represent Ireland, he carried the Irish flag in the opening ceremony and won his first fight by a record score.

From nowhere he became a national hero. It was his first break from his close friend and mentor Chick Gillen. Unable to return to live in Ireland until his family find a permanent site in Galway, Frank continues his boxing career in London and attempts the double of Ireland and English titles, a feat that hasn't been achieved in 43 years.

Film Ireland, Jan Press release detailing success of Paddy Breathnach and Robert Walpole's careers. Uncut, April , review Simon Lewis. In Production, October Volume 6 Number 5: Hillside Productions production for Treasure Films Irish,p: Robert Walpole, Paddy Breathnach, d: The Olympic Footage was reproduced with the consent of the international Olympic Committee.

Brendan Deasy, Greg Bailey, focus puller: Donal Gilligan, Simon Walsh, online ed.: Jim Gillespie, production a. Niamh Barrett, Rachel O'Flanagan, telecine: Cecily Loughman, title dsgn.: John Power, newspaper archive: Dublin Corporation Public Libraries: Dublin and irish Collections, a. Rod Stoneman, series ed.

Filmed on location in Ireland. Downtown Pictures, col, 76 mins, The film adds some interview material with contemporary historians and commentators, but is primarily focused on visualising the familiar details of her life. John Wall, Professor P. And thanks to those who contributed to the film in the form of interviews, time or spirt. In memory of James 'Ship' Evans. The film also charts the changing face of the North Wall and Sheriff Street. Shotlist Black and white footage of North wall docks and men working there. Footage of Sheriff Street. Archive photographs of ship yards and footage from various stages during the first half of the centuary.

Footage of North Wall. Register showing how community went from full employment to total unemployment. Footage of area from the s. Gerry Fay with photographs from the launch of the urban renewal act.

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Fay with photographs and footage from protest. Footage of anti-drug vigils. Super imposition of planned Spencer Dock devopments. No high rise campaign Protests around the area. Illustrations of plans and news paper headlines. Fay in shop putting up campaign posters. Mark Candon, principle and shots of school. North Wall Women's Centre. Margaret Hennesy at work in the I. Shots of children in area. Shots of Sheriff street. End of the World Productions, Y. Michael Doyle, Joe Egan, voiceover: Jonathan Ryder, Bernice Donaghue, p. Bailey Marks, research a.: Gareth Wynne, Jessica Gillingham, rostrum: And thanks to those who contributed to the film in the form of interviews, time or spirit.

Copyright End of the World Productions Ltd. Col, 50 mins approx, , Copy: Six part series documenting both Irish history and contemporary attitudes to the questions as raised then and as confronted now by the Irish people. Features interviews with several prominent historians. Patrick Gibbons, online ed: Mark Nolan, tape operator: Glenn Kyte, Gerry Hoban, a.: Sarah Tanham, title graphics: In the world of mass commercial culture have we the resources of mind to tackle our social and economic problems? They talk frankly about subjects such as parenting, jealousy, trust, religion, and long-term commitment.

Four different Irish weddings viewed from preparation to conclusion in one case, to cancellation. Each episode took a very different couple, drawing comparisons between life styles, social classes and attitudes to morality, religion and sexuality. Enda Bonner, Telegael, titles: Guy Montgomery Anner facilities , m: They talk frankly about subjects such as parenting, jealousy, trust, religion, and long-term commitment: Brian Fitzgerald and Margaret Maloney.

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Michael Cronin and Lynn Brangan. Gerard Mullins and Helen Kelly. Whether it's in the headlines or not, life continues days a year Note Shown at the Celtic Film Festival. We acknowledge the co-operation of the Prison Service in facilitating this film. Laura Brooks, video grading: Veronica Jane O'Mara, c: Second part focuses on the impact of drugs on everyday life in the prison.

Third part focuses on the women's prison. Patrick's Institution, the borstal for young male offenders. A high percentage of these women are heroine addicts compared to prisoners in the main part of Mountjoy". Final part shows the relationship between prison officers and prisoners and brings the story up to date. Series chronicling the lives of prisoners and warders at Dublin's Mountjoy Prison men's and women's facilities through a series of interviews where they explain themselves and their environment.

Interviews and archive footage combine to tell the tale of Ireland's political and social life looked at from a woman's point-of-view". Public Communication Centre, title anim.: Barry Dignam, research team: Bow Lane Studios, p. Phillipe Faujas, David Harris, s. Catherine Creed, series cnslt: Her burnt body was discovered by RIC constables in a shallow grave and investigations revealed that she had been killed by her husband who was convinced that she had been "taken away by Faeries".

Peter Conway, Margaret Moggan, p. Mary Brooke-Tyrell, standby props: Nuala McKernan, prop transport: Declan King, Andrew O'Reilly, a. Brian Moore, Sam Horgan, make-up: Ken Galvin, online ed: Damien McDonald, online ed: When Britain's hold on Irish became untenable, and the Black and Tans feeling vulnerable in the wake of the Kilmichael Ambush, an incident involving two petrol bombs, caused them to systematically set fire to the inner city and murdering brothers Con and Jerry Delaney in their homes.

Donncha Crowley, Liam Heffernan, c: Paddy Gibbons, online ed: The programme looks at the work of field recordist and collector Tom Munnelly and the preservation of many rare songs by the singer John Reilly who passed away in his early forties. The programme is centred around extensive use of archive film of the travelling community. This episode looks at the lives and careers of musical families the Keenans and the Fureys. Lucie Wright, Laura Haykel, runner: Colin Campbell, Sarah Cruise, title dsgn: Warren Dowling, online ed: Anna Kierns, dub ed: Keywords Irish-Americans Migration Production credits p.

Self-made millionaire and motivational speaker Brian Buffini looks back on his journey from Windy Arbour, Dublin, to San Diego, to set up a business with his brother. Paula Rouse, Tanya Gillen, sc: Daire O'Brien, DV d: Cecily Loughman, online asst: Bestick Williams, film sound: Pat Kavanagh, film dubbing: Fintan Ryan, outside broadcast cameras: Aidan Maguire, outside broadcast sound: Pierce Ivory, sound effects: Bill Fogarty, senior cameraman: Tony Barry, film ed: Bob Hill, Michael Stoffer, video tape ed: Ted Crowley, stills ph: Eddie McEvoy, unit organiser: Noeline Coffey, Janet Wynne, floor manager: Mike Purcell, technical operators manager: Charles Roberts, historical advisor: Maureen O'Farrell, Brendan Cahir, cost.

Potter, film sequences d: Alpho O'Reilly, producer, d: Tom St John Barry. Contemporary Films, 16mm, Several phrases in English. Shotlist Montage of people mounting horses. The Ballinasloe Horse Fair; and buying and selling horses. Jockies and show jumping. Various groups of people involved in the horse business. American tourists outside Kate Kearney's Cottage, Killarney. Cross-country trials; European championships. Jockeys; flags; starting post. A montage of horses: A montage of people dismounting. An RDS parade of horses in the ring: The box with seated dignitaries and judges.

A montage of show horses jumping against the clock. Applause from the crowd. Montage of horses jumping fences; making various errors; reaction shots of spectators. The end of the race: Grooming before the event: A montage of groups of horses. A hunt meeting; showjumping; cross-country: Horses faltering at fences and hedges. Horses knocking fences and gates. Phoenix Park Race Meeting: Horses and jockeys gathering at the start.

The starting post; the beginning of the race. Reaction shots of crowd watching the race through binoculars. A montage of CU shots of jockeys during the race. Happy and sad faces. Bookies paying out to punters. Tristan Orphen-Lynch, Dominic Wright, exec.

Stephen Daly, art d.: Deirdre Doorley, Carol Moorhead, 2nd unit. Ken Byrne, 1st a. Simon Dalton, Mike Flood, a. Ray Cross, John Fitzgerald, Foley: Caoimhe Doyle, boom op: Maurice Foley, Team FX, stunts: