Titlebook: Screening Modern Irish Fiction and Drama; R. Barton Palmer,Marc C. Conner Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 A

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2634-629X tion features a detailed discussion of the cultural and political questions raised by the promotion of forms of national identity by Ireland’s literary andcinematic establishments..?.978-3-319-82220-4978-3-319-40928-3Series ISSN 2634-629X Series E-ISSN 2634-6303

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Book 2016 LEFT FOOT, THE PICTURE OF DORIAN GRAY, THE SNAPPER, and DANCING AT LUGHNASA. The introduction features a detailed discussion of the cultural and political questions raised by the promotion of forms of national identity by Ireland’s literary andcinematic establishments..?.

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Introduction: Screening Modern Irish Fiction and Drama,fore the much more innovative and interesting 2003 Sean Walsh film ., the only engaging film of a Joyce work remained John Huston’s . (1987)—a fascinating and subtle effort to use film to re-envision a great work of modernist literature.

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,Liam O’Flaherty’s , and the Aesthetics of Terror,s the Weimar-like street scenes with dense fog and chiaroscuro lighting effects that convey the moral ambiguity of betrayer and betrayed in war-torn Dublin. So successful was Ford’s film, garnering several Oscars including Best Actor for Victor McLaglen, that it was turned into radio plays for . (19

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,Deconstructing Political Adaptations: Sean O’Casey’s ,,g and its consequences, a vivid recreation of the world of 1916 Dublin through sound effects and songs, and a quasi-melodrama—especially at the end, when the innocent fruit vendor Bessie Burgess (Gabrielle Ready) passes away. More significantly both adaptations underline just how difficult it is to

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,Lewin’s Wilde: Aestheticism, Moralism, and Hollywood,eachings and art-for-art’s-sake amorality. Lewin even captures some of Wilde’s exquisite aesthetic tension between the temporal narrative and the spatial portrait in his film’s deliberate poising of the high art of black-and-white silent film against the vulgarities of the Technicolor talkie. In sho

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,The British New Wave Screens Ireland: Desmond Davis’s , (1964),tion sector, while failing to nourish an urbane, engaged cinema culture (such as had appeared elsewhere throughout Europe by the end of the 1920s), which might have become an intellectual engine driving industrial change (xi; see Pettitt Chaps. 1–6 for full details).

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,Roddy Doyle’s The Barrytown Trilogy and Filming Ireland’s “New Picture”, adaptations of Doyle’s novels emphasize and extend the multimedia worlds inhabited by his characters, in which they create meaning from and through their encounters with the popular. . (1985), the Waltons, the West Indian folk song “The Sloop John B” and performances of a karaoke version of Madonna

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