Bøger i Ireland into Film S. serien

Drawing upon unpublished material from the Friel archive at the National Library of Ireland, Joan FitzPatrick Dean contrasts the expressly theatrical elements of Brian Friel's play "Dancing at Lughnasa" and their cinematic counterparts.

Explores the 1999 film adaptation by Director Atom Egoyan of Irish writer William Trevor's novel of 1994. This title addresses issues such as - hitchcockian influences, the sense of place in the visual discourse, and the characterisation of the serial killer Hilditch, as constructed initially by Trevor and interpreted by Egoyan.

This story is based on John B. Keane's popular play "The Field". "The Field" centres around a boundary dispute and murder in County Kerry, inspired by Jim Sheridan.

Sam Hanna Bell's debut novel (1951), about life in a tight-knit Presbyterian community in turn-of-the-century Northern Ireland, was adapted for the screen by David Rudkin and directed by Thaddeus O'Sullivan in 1990. Both as a novel and as a film, December Bride is a remarkable combination of passion and politics set against a rural backdrop of communal constraint and individual action. Visually and thematically, the film is a timely reinvestigation of Ulster Protestant history and culture, and in particular reclaims a tradition of radical independent thought exemplified by the work of Sam Hanna Bell. Drawing on previously unpublished archival material and new interviews, Lance Pettitt explores the intricate relationship between novel, screenplay and the wider film culture. December Bride is a consummate and provocative challenge to the politics of Irish society, its cinematic representations, and to the very process of film adaptation itself.

To date there have been four film versions of "The Informer". The hardman and the gunman have provided dramatists and film-makers with a compelling way of staging political conflict. This is a study of the film.

Although eighty years separate John Huston's film from James Joyce's text, the presence of The Dead can be found earlier in European cinema, in Roberto Rossellini's Voyage in Italy (1953). Kevin Barry explores the extraordinary relationships between these three works, and the radically different aesthetics of fidelity and infidelity practiced by these exemplary artists of the twentieth century.

Examines "The Barrytown Trilogy" and the Alan Parker and Stephen Frears' films with the aim of exploring the evidence for the existence of a privileged relationship between narrative form and the demands of the screen in Doyle's work.

"The Butcher Boy" is perhaps the finest film to have come out of Ireland. Cinema is often thought of as a purely visual art, but this film is adapted from a groundbreaking novel by a filmmaker who is himself a writer of prose fiction. This study examines the process by which fiction becomes film, and writing becomes image.