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The quiet man / Luke Gibbons

By: Material type: TextTextSeries: Ireland into film ; 6Publication details: Cork : Cork University Press in association with the Film Institute of Ireland, [2002]Description: 121 p. : ill. ; 19 cmISBN:
  • 9781859182871
  • 9781859182871
Subject(s): Summary: Much of Irish cinema since the development of an indigenous film industry in the 1980s has set its face firmly against these mythic images of Ireland, but no film has yet attained the enduring appeal of "The Quiet Man." In this radical reappraisal of Ford's Oscar-winning film, Luke Gibbons traces its development from Maurice Walsh's original story (1933) and argues that its romantic excesses are a symptom of much darker undercurrents in the literary text, and the displacement of trauma that often underlies nostalgia. Moreover, Gibbons ably demonstrates how the film, rather than indulging in escapism, actually questions its own romantic illusions and the dream of returning to an Irish paradise lost
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Holdings
Item type Current library Collection Call number Status Date due Barcode
General General ATU Dublin Road General Shelves 791.4309417 (Browse shelf(Opens below)) Available G109818
General General ATU Mayo General Shelves Donation 791.4309417 (Browse shelf(Opens below)) Available 054642
General General ATU Wellpark Road General Shelves 791.4309417 (Browse shelf(Opens below)) Available J125284
Browsing ATU Wellpark Road shelves, Shelving location: General Shelves Close shelf browser (Hides shelf browser)
791.4309417 December bride / 791.4309417 The informer / 791.4309417 The dead / 791.4309417 The quiet man / 791.4309417 This other Eden / 791.4309417 The story of Irish Film / 791.4309417 The story of Irish Film /

Includes bibliographical references

Much of Irish cinema since the development of an indigenous film industry in the 1980s has set its face firmly against these mythic images of Ireland, but no film has yet attained the enduring appeal of "The Quiet Man." In this radical reappraisal of Ford's Oscar-winning film, Luke Gibbons traces its development from Maurice Walsh's original story (1933) and argues that its romantic excesses are a symptom of much darker undercurrents in the literary text, and the displacement of trauma that often underlies nostalgia. Moreover, Gibbons ably demonstrates how the film, rather than indulging in escapism, actually questions its own romantic illusions and the dream of returning to an Irish paradise lost

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