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Men and masculinities in Irish cinema

Record Type:	Electronic resources : Monograph/item
Title/Author:	Men and masculinities in Irish cinemaDebbie Ging.
Author:	Ging, Debbie.
Published:	New York :Palgrave Macmillan,2012.
Description:	1 online resource.
Subject:	Men in motion pictures.
Online resource:	https://link.springer.com/book/10.1057/9781137291936
ISBN:	9781137291936 (electronic bk.)

Men and masculinities in Irish cinema
Ging, Debbie.

Men and masculinities in Irish cinema[electronic resource] /Debbie Ging. - New York :Palgrave Macmillan,2012. - 1 online resource.

Preface -- Gender and Nation: the Gaelicization of Irish Manhood -- Instruments of God's Will: Masculinity in Early Irish Film -- Institutional Boys: Adolescent Masculinity and Coming of Age in Ireland's 'Architecture of Containment' -- Family Guy: Detonating the Irish Nuclear Family -- It's Good to Talk? Language, Loquaciousness and Silence among Irish Cinema's Men in Crisis -- Troubled Bodies, Troubled Minds: Republicanism, Bromance and 'House-Training' the 'Men of Violence' -- New Lads or Protest Masculinities? Underclass, Criminal and Socially- Marginalised Men in the Films of the 1990s and 2000s -- Cool Hibernia: 'New Men', Metrosexuals, Celtic Soul and Queer Fellas -- Conclusion.

Spanning a broad trajectory, from the New Gaelic Man of post-independence Ireland to the slick urban gangsters of contemporary productions, this study traces a significant shift from idealistic images of Irish manhood to a much more diverse and gender-politically ambiguous range of male identities on the Irish screen. Ging argues that Irish filmmakers have been instrumental to identifying critical flashpoints and fissures in the 'masculinity' debate, sometimes long before sociologists, psychologists and the news media. She tracks evolving cinematic discourses on manhood, from the early period of nationalist filmmaking through the First Wave's unusually anti-patriarchal and anti-nationalist interventions, to post-Celtic Tiger cinema's engagements with postfeminism, New Laddism and Raunch Culture. This is a compelling and insightful story about the development of male identities in Irish cinema over the past century.

ISBN: 9781137291936 (electronic bk.)

Source: 364524Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Topical Terms:

473985
Men in motion pictures.
Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: PN1995.9.M46 / G58 2012

Dewey Class. No.: 791.43/65211

Men and masculinities in Irish cinema
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505 0 $a Preface -- Gender and Nation: the Gaelicization of Irish Manhood -- Instruments of God's Will: Masculinity in Early Irish Film -- Institutional Boys: Adolescent Masculinity and Coming of Age in Ireland's 'Architecture of Containment' -- Family Guy: Detonating the Irish Nuclear Family -- It's Good to Talk? Language, Loquaciousness and Silence among Irish Cinema's Men in Crisis -- Troubled Bodies, Troubled Minds: Republicanism, Bromance and 'House-Training' the 'Men of Violence' -- New Lads or Protest Masculinities? Underclass, Criminal and Socially- Marginalised Men in the Films of the 1990s and 2000s -- Cool Hibernia: 'New Men', Metrosexuals, Celtic Soul and Queer Fellas -- Conclusion.
505 0 $a Introduction -- Gender and nation: the Gaelicization of Irish manhood -- "Instruments of God's will": masculinity in early Irish film -- Institutional boys: adolescent masculinity and coming of age in Ireland's "architecture of containment" -- Family guys: detonating the Irish nuclear family -- "It's good to talk": language, loquaciousness and silence among Irish cinema's men in crisis -- Troubled bodies, troubled minds: republicanism, bromance and "house-training" the "men of violence" -- New lads or protest masculinities? underclass, criminal and socially- marginalised men in the films of the 1990s and 2000s -- Cool Hibernia: "new men", metrosexuals, Celtic soul and queer fellas -- Conclusion: a masculinity of "transcendent" defeat?
520 $a Spanning a broad trajectory, from the New Gaelic Man of post-independence Ireland to the slick urban gangsters of contemporary productions, this study traces a significant shift from idealistic images of Irish manhood to a much more diverse and gender-politically ambiguous range of male identities on the Irish screen. Ging argues that Irish filmmakers have been instrumental to identifying critical flashpoints and fissures in the 'masculinity' debate, sometimes long before sociologists, psychologists and the news media. She tracks evolving cinematic discourses on manhood, from the early period of nationalist filmmaking through the First Wave's unusually anti-patriarchal and anti-nationalist interventions, to post-Celtic Tiger cinema's engagements with postfeminism, New Laddism and Raunch Culture. This is a compelling and insightful story about the development of male identities in Irish cinema over the past century.
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