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NOTES AND REFERENCES
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INTRODUCTION (Bracken and Radley) 1 See ‘The Fun Starts Here’ (Red Rage Films, 2010), http://www.youtube.com/ watch?v=F-cwJXvBG7k [accessed 19 August 2010]. 2 In the visual arts, two notable examples are Fintan Cullen’s Visual Politics: Representation of Ireland 1750–1950 (Cork: Cork University Press, 1995) and Fintan Cullen and John Morrison (eds), A Shared Legacy: Essays on Irish and Scottish Art and Visual Culture (Aldershot: Ashgate, 2005), while prominent film studies publications include Kevin Rockett, John Hill and Martin McLoone (eds), Cinema and Ireland (Syracuse, NY: Syracuse University Press, 1987); Martin McLoone’s Irish Film: The Emergence of a National Cinema (London: British Film Institute, 2000); Lance Pettitt’s Screening Ireland: Film and Television Representation (Manchester: Manchester University Press, 2000); Ruth Barton’s Irish National Cinema (London: Routledge, 2004); and Michael Gillespie’s The Myth of an Irish Cinema: Approaching Irish-Themed Films (Syracuse, NY: Syracuse University Press, 2008). 3 Linda King and Elaine Sisson (eds), Ireland, Design and Visual Culture: Negotiating Modernity, 1922–1992 (Cork: Cork University Press, 2011); Eóin Flannery and Michael Griffin (eds), Ireland in Focus: Film, Photography, and Popular Culture (Syracuse, NY: Syracuse University Press, 2009). 4 Patricia Coughlan, ‘“Bog Queens”: The Representation of Women in the Poetry of John Montague and Seamus Heaney’, in Toni O’Brien Johnson and David Cairns (eds), Gender and Irish Writing (Maidenhead: Open University Press, 1991), pp. 88–111; Elizabeth Butler Cullingford, Ireland’s Others: Ethnicity and Gender in Irish Literature and Popular Culture (Cork: Cork University Press, 2001); Colin Graham, Deconstructing Ireland: Identity, Theory, Culture (Edinburgh: Edinburgh University Press, 2001); Gerardine Meaney, Gender, Ireland and Cultural Change: Race, Sex and Nation (London: Routledge, 2010); Joseph Valente, The Myth of Manliness in Irish National Culture, 1880–1922 (Champaign, IL: University of Illinois Press, 2011). 5 Wanda Balzano, Anne Mulhall and Moynagh Sullivan, ‘Introduction’, in Balzano et al. (eds), Irish Postmodernisms and Popular Culture (Basingstoke: Palgrave Macmillan, 2007), p. xviii. 229 NOTES AND REFERENCES CHAPTER ONE (Carville) 1 V.N. Vološinov, Marxism and the Philosophy of Language, trans. Ladislav Matejka and I.R. Titunik (Cambridge, MA: Harvard University Press, 1986), p. 9. 2 For a range of literature across the areas see the essays collected in: Adele M. Dalsimer (ed.), Visualizing Ireland: National Identity and the Pictorial Tradition (Boston and London: Faber & Faber 1993); Brian P. Kennedy and Raymond Gillespie (eds), Ireland: Art into History (Dublin: Town House, 1994); Lawrence W. McBride (ed.), Images, Icons and the Irish Nationalist Imagination (Dublin: Four Courts Press, 1990); Third Text: Special Issue on Irish Culture, vol. 19, no. 5, 2005; Early Popular Visual Culture, Special Issue Popular Visual Culture in Ireland, vol. 5, no. 3, 2007; The Irish Review, Contemporary Visual Arts, vol. 39, 2008; and Eóin Flannery and Michael Griffin (eds), Ireland in Focus: Film, Photography, and Popular Culture (Syracuse, NY: Syracuse University Press, 2009). 3 The anxiety thus lies in the uncertainty as to whether or not Irish visual culture is merely an emphasis within a broader field of theories of representation of Irish cultural life, that is to say a passing trend within arts and humanities scholarship, or if it is an emergent sub-discipline that requires a distinctive set of methods and models of theoretical analysis. If the latter is the case, the question that may be posed is what is Irish visual culture a sub-discipline of? Is it a sub-discipline of Irish studies, itself a sub-discipline of literary, media, cultural studies and historiography , or is it a re-branding of Irish art historical scholarship? 4 I am interpreting visual culture very broadly here, cognisant of the fact that disciplines such as art history and arts criticism have their own historical methods and forms of writing which are very different from the aspirations of visual culture or visual studies as an academic discipline. My point here is to draw attention to the difficulties associated with employing the term as a signifier of newness of both the subject of inquiry and methods used to discuss visual representations . 5 The most prominent example and contribution to the discussion of the complexities of the visual within Irish cultural life remains David Brett’s The Construction of Heritage (Cork: Cork University Press, 1996), especially the chapter ‘The Picturesque and the Sublime: Toward the Aestheticisation of History’. 6 For a brief overview of the incorporation of photography in physical anthropology see Frank Spencer, ‘Some Notes on the Attempt to Apply Photography to Anthropometry during the...