Schedule. Part One: Backgrounds

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1 English 342/Film 415 Contemporary Irish Theater and Film Spring, 2010 Texts (all on reserve or hand-outs): Anthony Roche, Contemporary Irish Drama: From Beckett to McGuinness John P. Harrington, ed., Modern and Contemporary Irish Drama Eamonn Jordan, ed. Theatre Stuff: Critical Essays in Contemporary Irish Theatre Lilian Chambers, Ger FitzGibbon, and Eamonn Jordan, eds, Theatre Talk: Voices of Irish Theatre Practitioners James MacKillop, ed., Contemporary Irish Cinema Martin McLoone, Irish Film: The Emergence of a Contemporary Cinema Ruth Barton, Jim Sheridan: Framing the Nation Gerald C. Wood, Conor McPherson: Imagining Mischief Schedule Part One: Backgrounds January 19: Introduction to Ireland and Course Films: From Druid/Synge, Riders to the Sea Reading: McLoone, in Irish Film, Chapter 2: Traditions of Representation: Romanticism and Landscape, pp Outside Viewing: Druid/Synge, Playboy of the Western World Topics: Brief description of Ireland s geography, climate, and history; traditional Irish theater; Ireland and Stereotypes February 2: The Shadow of Samuel Beckett Films: Endgame (Conor McPherson, 2000) Reading: John P. Harrington, Introduction to Modern and Contemporary Irish Drama, pp. ix-xx; Fintan O Toole, Irish Theater: The State of the Art, in Theatre Stuff, pp ; Outside Viewing: Waiting for Godot (Michael Linday-Hogg, 2001) Topics: Beckett s style and themes, Post-Modernism and Beckett, Beckett s Influence February 9: Indigeous Irish Film Films: Poitin (Bob Quinn, 1975) and Traveller (Joe Comerford, 1982) Readings: McLoone, Chapter 6: The First Wave: Indigeous Films of the 1970s and 1980s), pp ; James MacKillop, in Irish Cinema, The Quiet Man Speaks, pp Outside Viewing: Man of Aran and The Quiet Man Topics: Definition of Indigenous Film, Comparison with American tradition, Development of European and International Film Sensibility February 16: Cinema and the Celtic Tiger

2 Films: Guiltrip (Gerry Stembridge, 1995) and Last of the High Kings (David Keating, 1996) Readings: McLoone, Chapter 8: The Cinema of the Celtic Tiger : Themes and Issues, pp ; Hugh Linehan, Gerard Stembridge, in Theatre Talk, pp Outside Viewing: A Love Divided (Syd McCartney, 1999) Topics: The Celtic Tiger, New Irish Themes, Youth Culture Journal Submission #1 Part Two: Distinctive Voices in Contemporary Theater and Film February 23: Jim Sheridan Films: In the Name of the Father (Jim Sheridan, 1993) Readings: Margot Gayle Backus, Revising Resistance: In the Name of the Father as Postcolonial Paternal Melodrama, in MacKillop, pp ; Ruth Barton, In the Name of the Father (1993): A Political Cinema? pp Outside Viewing: My Left Foot (Jim Sheridan, 1989) Topics: Irish family life, rural and urban; Politics and Cinema; Jim Sheridan and Irish History March 2: Brian Friel and Marina Carr Plays: Brian Friel (Faith Healer, 1979, and Translations, 1980) and Marina Carr (The Cordelia Dream, 2008, and Marble, 2009) Readings: Roche, Chapter 3: Friel s Drama: Leaving and Coming Home, pp ; Melissa Sihra, Marina Carr, in Theatre Talk, pp Topics: The Monologue Tradition, Post-Colonialism and Irish Theater, Women s Issues in Contemporary Irish Theater, Marina Carr and Literary Tradition. March 9: Neil Jordan Film: Michael Collins (Neil Jordan, 1996) Readings: Brian McIlroy, History without Borders: Neil Jordan s Michael Collins, in MacKillop, pp ; Maria Pramaggiore, I Kinda Liked You as a Girl, in MacKillop, pp Outside Viewing: The Crying Game (Neil Jordan, 1992, from screenplay by Jordan) Topics: Irish Politics and Cinematic Traditions, Gender Issues in Contemporary Ireland, The Achievement of Neil Jordan March 16: SPRING BREAK March 23: Sebastian Barry, Tom Murphy, and Thomas Kilroy Plays: Sebastian Barry, Steward of Christendom, 1995; Tom Murphy, The Gigli Concert, and Thomas Kilroy Double Cross, 1986) Readings: Ger Fitzgibbon, Sebastian Barry, in Theatre Talk, pp ; Roche, Chapter 4: Murphy s Drama: Tragedy and After, pp ; Roche, Chapter 5: Kilroy s Doubles, pp

3 Topics: Politics and Humanism, Beckett s Influence, The Achievement of Murphy and Kilroy March 30: Conor McPherson as Playwright and Screenwriter Films: I Went Down (Paddy Breathnach, 1997, from screenplay by McPherson) Readings: Gerald C. Wood, Chapters 1-4 and An Interview with Conor McPherson, in Imagining Mischief, pp. 1-81, ; Conor McPherson, The Good Thief, 1994, St. Nicholas, 1997, and The Weir, Outside Viewing: Ailsa (Breathnach, 1994, from story by Joe O Connor) Topics: McPherson and the Monologue, Bending Genre in Film, The Weir and McPherson s Emergence as Major Playwright Journal Submission #2 Part Three: Crossing Over, Theater into Film April 6: Playwrights and Collaboration, Brian Friel and Frank McGuinness Plays/Films: Someone to Watch Over Me (Frank McGuinness, 1992) and Dancing at Lughnasa (Pat O Connor, 1998, from screenplay by Frank McGuiness) Readings: Joseph Long, Frank McGuinness, in Theatre Talk, pp Outside Viewing: Philadelphia, Here I Come! (John Quested, 1974, from Friel screenplay) April 13: Mark O Rowe Plays/Films: Mark O Rowe, Howie the Rookie, 1999, and Terminus, 2008; Intermission (John Crowley, 2003, from screenplay by Mark O Rowe) Readings: None Outside Viewing: The Butcher Boy (Neil Jordan, 1997, from novel by Pat McCabe) Topics: Monologues, Crime Drama and Ireland, Ireland and History April 20: McPherson, Adaptation and Collaboration Plays/Films: Conor McPherson, Lime Tree Bower (1995, Port Authority (2001); Saltwater (Conor McPherson, 2000, adaptation of Lime Tree Bower) Readings: Conor McPherson, Billy Roche, in Theatre Talk, pp Outside Viewing: The Eclipse (Conor McPherson, 2009, from screenplay by McPherson and Billy Roche) and Trojan Eddie (Gillies MacKinnon, 1996, from screenplay by Billy Roche) Topics: McPherson and the Monologue, Adaptation of Own Works, Conor McPherson as Filmmaker Journal Submission #3 April 27: Martin McDonagh Plays/Films: Martin McDonagh, Cripple of Inishmaan (1996), The Pillowman (2003) The Six Shooter (2005) and In Bruges (2008) Readings: None Outside Viewing: The Pillowman in Phoenix Theater (April 29-May 1)

4 May 4: Enda Walsh Plays/Films: The New Electric Ballroom and Disco Pigs (Kirsten Sheridan, 2001, play and screenplay by Enda Walsh) Readings: Emelie Fitzgibbon, Enda Walsh, in Theatre Talk, pp Outside Viewing: Hunger (Steve McQueen, 2008, from screenplay by McQueen and Enda Walsh) Topics: Adolescence in Ireland, The Problem of Language, Imagining Irish History May 11: Final Exam: Very Recent Irish Theater and Film Film: Garage (Lenny Abrahamson, 2007, from screenplay by Mark O Halloran) Reading: Elaine Murphy, Little Gem Focused Journal, Submission #4, with critique Course Requirements 1. We will follow the Humanities Division attendance policy. Three absences= warning; 5- failure. 2.My office is in HH 104, where I have office hours: 9-11 & 1-3 TR. My office phone number is All assignments are due on the dates noted in the class schedule. Late work will be marked down one letter grade for each day late. 4. The instructor may need to modify the schedule and/or requirements during the semester. You will be responsible for any of the changes announced in class. 5. When we use numerical scores in the class, we will use the following scale: A B C D F Below Your grade will be calculated by averaging the focused journal submissions, each counting 25%. 7. This class will be based on respect for individual feelings, points of view, and ideas. Therefore, you will be asked to behave appropriately, demonstrating your ability to listen to and care for others. If you do not fulfill this requirement of the course, the instructor reserves the right to remove you from class and you will be held responsible for all class work. 8. Any student with a special documented disability (learning, sight, hearing, mobility, etc.) which may affect class activities should contact Dr. Rebecca Van Cleave, ext. 3268; Life Directions Center, Baker room 317. Students will have to provide appropriate documentation. 9. No extra credit will be given in this class. The Journal

5 The journal is designed as (1) personal reflection on your reading and viewing, (2) way you and your instructor can keep in dialogue (a form of chat room), and (3) means of raising areas of inquiry outside the classroom. Each week I will give you topics involving class work, both from the previous session and future ones, the readings, and outside viewings. You are to write a personal response, using class work as supporting evidence and raising questions for me and your classmates about our work. The journal entries will be taken up 4 times during the semester and graded on (1) your distinctive personal voice, (2) the originality of your responses, (3) the details with which you support your ideas/arguments, and (4) your growing understanding of contemporary Irish theater and film. The final exam with be the 4 th of these submissions supplemented by a personal critique of the class and your journals written in class. Course Objectives 1. Familiarity with representative works of recent Irish plays and films. 2. Ability to identify the major artists in those works. 3. General understanding of recent Irish history, cultural trends, and issues. 4. Analysis of single work, placing it in the historical and critical contexts developed in the course. 5. Recognition of major issues in collaboration and adaptation. 6. Knowledge of distinctive styles and themes of recent Irish theater and film.

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