Men and Masculinities in Irish Cinema (Global Masculinities)
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As Littleton so sagely suggests, the Church needs to place itself at the service of the people, embodying mission rather than expecting the political and social privilege afforded it in the first half of the twentieth century: If the essays had continued in this vein then this could have been one of the most important collections on Irish Catholicism produced in the past twenty years. Unfortunately, this was not to be the case. The second section of the collection ofers a series of empirical pieces which, whilst greatly adding to our sum of knowledge regarding the Catholic Church in Ireland something Downloaded by [University College Dublin] at Instead, diferent issues are addressed with no attempt made by the editors to link the two.
Taken as a whole, this section ofers us a snapshot of the current concerns facing Irish society and the Church. The essays that it contains allow us to build a picture from which questions regarding the future of the Church can emerge. For this reason alone it is worthy of attention.
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This set of essays is, in essence, two collections: Sadly, little attempt is made to link the two, and the collection would have beneited from a long introduction outlining the issues and challenges facing the Catholic Church in Ireland and explaining why it must rise to the challenge of secularisation and redeine its place in society. Maria Power University of Liverpool m. Atypical heroes have long been a hallmark of Irish artistic pro- duction.
The narrative prevalence of abusive, dominating, damaging and indeed damaged articulations of masculinity marks Irish cinema as distinct from other national cinematic traditions, which have had a more sustained and uncritical focus on heroic and patriarchal masculinities.
In Men and Masculinities in Irish Cinema, Debbie Ging argues that Irish cinema, in its insistent portrayal of male dysfunction, has instead questioned such paradigms, performing an ongoing critique of the failures of traditional patriarchy. The book aims to tell the story of how and why the representation of men in Irish cinema has changed so dramatically over the course of the twentieth century, anchoring its analysis with rich socio-historical context.
The book is divided into nine chapters, and has a broad span in terms of genre and period. The ilms under scrutiny range from traditional portrayals of pastoral national masculinity in some of the earliest examples of indigenous cinema in Ireland, to the more diverse portrayals of male identities which have characterised recent Irish cinema.
Men and Masculinities in Irish Cinema - Debbie Ging - Paperback () » Bokkilden
The chapters are organised thematically rather than chronologically, as Ging illustrates that the typologies of masculinity and narrative tendencies that characterise Irish cinema are not period speciic but cut across multiple periods and contexts. Ging opens the book by juxtaposing two radically diferent images of Irish masculinity: This type of suggestive juxtaposition drives the critical tendency of much of the book, as Ging draws out the unexpected strands of similarity between starkly diferent ilms.
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