| dc.contributor.author | Woodson, Mary Elizabeth | |
| dc.date.accessioned | 2021-10-08T19:34:36Z | |
| dc.date.available | 2021-10-08T19:34:36Z | |
| dc.date.issued | 2007-05-31 | |
| dc.identifier.uri | http://hdl.handle.net/1808/32139 | |
| dc.description | Thesis (M.A.)--University of Kansas, Theatre & Film, 2007. | en_US |
| dc.description.abstract | In this study I look at the presentation of history in film and how that presentation/the films assist in the creation of memory. Using theories of collective memory and, what Robert Rosenstone terms, the "new history film," I look at how each film portrays history, the collective's role within the film's production, and what purpose the created memories serve. After providing a brief overview background of Irish film history, I offer an in-depth analysis of four films: Bloody Sunday (Paul Greengrass, 2002), The Magdalene Sisters (Peter Mullan, 2003), 12 Days in July (Margo Harkin, 1997), and Mother Ireland (Anne Crilly, 1988). In conclusion, I point out that there are a number of uses for the collective memory these films help to create. | en_US |
| dc.publisher | University of Kansas | en_US |
| dc.rights | This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author. | en_US |
| dc.subject | Communication and the arts | en_US |
| dc.subject | Crilly, Anne | en_US |
| dc.subject | Greengrass, Paul | en_US |
| dc.subject | Harkin, Margo | en_US |
| dc.subject | Mullan, Peter | en_US |
| dc.title | Filming the past for a better future: History, memory, and Irish cinema, 1988--2007 | en_US |
| dc.type | Thesis | en_US |
| dc.thesis.degreeDiscipline | Theatre & Film | |
| dc.thesis.degreeLevel | M.A. | |
| kusw.bibid | 5349322 | |
| dc.rights.accessrights | openAccess | en_US |
