This book is the first volume in a two-volume set on the history of cinema in Ireland from the 18th century to the present day (the second companion volume is titled Film Exhibition and Distribution in Ireland, 1909-2010). What the book demonstrates is that prior to cinema there were already huge numbers of people in Ireland, from all classes, who regularly enjoyed proto-cinematic experiences through such entertainments as the magic lantern, or slide projector; the immersive large-scale paintings known as panoramas; and tableaux vivants, or theatrical-posed static representations of paintings, statues, and events. Without these entertainments - many developed by Irish inventors and pioneers - not only would cinema's moving-pictures have been unimaginable, but so, too, would the cinema space itself and the distribution of film. Ultimately, the book is offered as a contribution towards a deeper understanding of popular visual culture (and its intersection with science) in Ireland from the 18th-century onwards. *** "Kevin Rockett and Emer Rockett's book is a richly researched, engaging...picture of visual and optical entertainments in Ireland, ranging from the first phantasmagoria shows in the 1790s to the establishment of the first purpose-built cinemas....The authors build on recent work influenced by the idea that the site of an exhibition helped determine not only how it took place, but the meanings it produced and the experience of its audience." - Victorian Studies, Vol. 56, No. 1, Autumn 2014Ã?Â?Ã?Â?

Magic Lantern, Panorama and Moving Picture Shows in Ireland, 1786-1909

Humor & Entertainment

Rockett, Kevin

Rockett, Emer

Movies

Four Courts Press

This book is the second volume in a two-volume set on the history of cinema in Ireland (the first companion volume is titled Magic Lantern, Panorama, and Moving Picture Shows in Ireland, 1786-1909). From the opening of the first full-time cinemas in Ireland during 1909-1914 until the multiplex boom of the 1990s and 2000s, Irish cinema-going has been a complex intersection of social, cultural, and business practices. As well as providing an annotated listing of every known significant film venue that has operated in Ireland since the beginning of cinema in the late 19th century, the book traces in forensic detail the nature of the Irish cinema phenomenon, and, in utilizing a range of previously unexplored primary sources from film trade publications to cinema records, it provides the first extensive account of a whole Irish business sector, including the key personnel involved. In the process, issues of cultural and social geography are explored. The book's account of alternative film exhibition practices not only offers the first comprehensive histories of the competing cultural and moral agendas of the secular Irish Film Society and the National Film Institute of Ireland, but it also outlines the emergence of a dynamic film culture in the 1980s and 1990s, and includes the history of film festivals in Ireland.

Film Exhibition and Distribution in Ireland, 1909-2010

Business & Money

Industries

<p>With films like The Crying Game, Interview With a Vampire, Michael Collins, and, most recently, The Good Thief, Neil Jordan is Ireland's most versatile, prolific, and successful film director. The authors argue that central to Jordan's work is an exploration and challenging of boundaries and borders. He creates sumptuous and sensuous worlds of synergy that, thematically and narratively layered, are open to multiple critical interpretations. The authors provide detailed, contextualized readings of each of his films, as well as situate them in relation to his literary work.</p>

Neil Jordan: Exploring Boundaries (Contemporary Irish Writers and Filmmakers)

The Liffey Press

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