National cinema and beyond: studies in Irish film I

2005 ◽  
Vol 42 (08) ◽  
pp. 42-4547-42-4547
Keyword(s):  
National Cinema ◽  
Irish Film

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.

: French National Cinema . Susan Hayward.

1995 ◽  
Vol 49 (1) ◽  
pp. 46-46
Author(s):  
Nina Rosenblatt
Keyword(s):  
National Cinema

The Musicality of Canadian Cinema

2019 ◽  
pp. 390-408
Author(s):  
Michael Brendan Baker
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
National Cinema ◽  
Avant Garde ◽  
Institutional Forces ◽  
History Of ◽  
Narrative Account

This chapter offers a narrative account of music in Canadian cinema that highlights the contributions of its pioneers. Case studies spanning the critically acclaimed, the curious, and the marginalized allow for an effort to flesh out the place of music, particularly popular music, in this national cinema. While the esthetics and dollars-and-cents of music in film may be similar in Canada as elsewhere, the expectations of filmmakers and audiences are perhaps uniquely Canadian as a result of industrial and institutional forces. Animation, the avant-garde, and documentary are particularly vibrant spaces for the innovative use of music and differentiate the history of music in Canadian cinema from other more commercially oriented contexts.

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