National cinema and beyond. Edited by Kevin Rockett and John Hill. Pp 170. Dublin: Four Courts Press. 2004. €55 hardback; €24.95 paperback (Studies in Irish Film 1) - Irish film censorship: a cultural journey from silent cinema to internet pornography. By Kevin Rockett. Pp 496, illus. Dublin: Four Courts Press. 2004. €65 hardback; €29.95 paperback.

2005 ◽  
Vol 34 (135) ◽  
pp. 353-354
Author(s):  
Aoife Bhreatnach
Keyword(s):  
National Cinema ◽  
Silent Cinema ◽  
Internet Pornography ◽  
Film Censorship ◽  
Irish Film

Restricted vision: Censorship and cinematic resistance in Thailand

2022 ◽  
pp. 1-24
Author(s):  
Noah Keone Viernes
Keyword(s):  
Motion Pictures ◽  
Close Reading ◽  
National Cinema ◽  
Film Censorship ◽  
Cultural Governance

Film censorship screens the nation as a ‘way of seeing’ that is both fundamental to the art of governance and vulnerable to the flexibility of contemporary global images. In Thailand, this historically-conditioned regime arose in the geopolitics of the 1930 Film Act, the Motion Pictures and Video Act of 2008, and a coterminous regulation of visuality as a form of cultural governance. I pursue a close reading of two banned films by Apichatpong Weerasethakul and Nontawat Numbenchapol, respectively, to illustrate the aesthetics of film censorship in light of the development of a national cinema, especially to consider the strategies that film-makers use to negotiate the governance of vision.

Quantifying National Cinema: A Case Study of the Irish Film Board 1993–2013

Film Studies ◽  
2016 ◽  
Vol 14 (1) ◽  
pp. 32-53 ◽  
Author(s):  
Roddy Flynn ◽  
Tony Tracy
Keyword(s):  
Quantitative Analysis ◽  
Textual Analysis ◽  
National Cinema ◽  
Cinema Studies ◽  
Irish Context ◽  
State Finance ◽  
Institutional Funding ◽  
Narrative Patterns ◽  
Irish Film

This article sets out to reinvigorate national cinema studies in an Irish context through a quantitative analysis of films financed by the Irish Film Board between 1993 and 2013. In constructing and coding a database of titles produced with the aid of state finance during this period, the authors argue for a methodology that broadens the inductive approaches of textual analysis that have dominated discussions of Irish cinema to date. By establishing recurring genres, narrative patterns, themes and character types present in IFB-funded films during this period, this article demonstrates how the professional objectives of IFB personnel have shaped institutional funding outcomes.

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