Rethinking Occupied Ireland: Gender and Incarceration in Contemporary Irish Film

Index

267 Index abortion, 41–42, 45, 67, 71, 79–81, 244 Agamben, Giorgio, 1–2, 14, 96, 117 Anne Devlin (Murphy), 30, 46, 126, 143–44, 183–200, 244 Aretxaga, Begoña, 66, 145–46, 152, 160, 168–70 Armagh Gaol: in Bogside Artists’ mural, 163–64; and Irish nationalism, 85, 139, 142; and menstrual blood 129n3, 168–72; protests in, 165–72; in Silent Grace, 30, 143–44, 172–83; and strip searches, 183, 188, 206–7, 252; and violence against prisoners, 105n14, 134, 161–62, 167 articulation, 160–61 Ballyfermot, 12, 250–51 bare life, 96, 110–11, 140–41, 161, 222 Belfast (City): in Four Days in July, 24–29; in Maeve, 40, 44–45, 48, 50, 53–62 Benjamin, Walter: dialectical image, 52; “Theses on the Philosophy of History ,” 14, 8–29, 38–40, 44–45, 187 Berlant, Lauren, 14, 38n6 Blanketman/Blanketmen, 29–30, 91–97, 102–4, 107–10, 117–24, 139–41. See also H-Blocks; H3; Hunger; hunger striker; Some Mother’s Son Bloody Sunday, 38, 97–98, 128, 246n14 Bogside Artists, 163–64, 164n14 Border Interpretative Centre, 12–13. See also Byrne, John B Specials, 36n2 Bunreacht na hÉireann, 4–5, 13. See also Irish Constitution Byrne, John, 9–13 carceral spaces, 2, 7, 252 Carib’s Leap (McQueen), 114 Catholic Church: in 1937 Irish Constitution , 4; in Hush-a-Bye Baby, 69–70, 86; and Magdalene laundries, 201, 202–4, 207–11; representations of clergy, 182, 212, 215–18, 228–30, 238–41. See also Catholicism; Magdalene laundries Catholicism: in Hush-a-Bye Baby, 75–76, 79; and Irish nationalism, 4, 15, 29–31, 55, 67–68, 91–92, 140–42; portrayed as occupying power, 228–30, 233–34, 241–244, 248–49; in prison protests, 123–24; in representations of prison protests, 29–30, 95, 122–24, 169 Certeau, Michel de, 95n3, 190 Chanan, Michael, 17–18 Cleary, Joe, 8–9, 16, 243 268 ◎ Index Conrad, Kathryn: analysis of Hush-a-Bye Baby, 64–65, 77–78, 80n23, 82n24, 86, 88n30; on Irish family cell, 206, 227 Coogan, Tim Pat, 167–68, 172 crime genre, 57–59 criminalization policy, 98–99 D’Arcy, Margaretta, 170, 196–97 de Lauretis, Teresa, 56 Derry (City), 54, 67, 70–71, 73–75 Derry Film and Video Collective, 68–69, 87 Diplock Commission, 99 Doherty, Willie, 33–35, 37 Ellmann, Maud, 90–91, 92, 120 emergency legislation, 1, 25, 37, 59, 70, 100. See also state of emergency exile, 233–34, 235–36 family: in Anne Devlin, 191, 194–95; in Four Days in July, 27–28; in Husha -Bye Baby, 69–70, 78–79; and Irish nationalism, 4–5, 30–31, 159–60, 201–3, 205–6, 226–28; in The Magdalene Sisters, 208–10, 222–23, 228–33, 235–36; in Sinners, 208–10, 220–21. See also family cell family cell, 88n30, 206 Farley, Fidelma, 189–90, 192 Farrell, Mairéad, 85, 87, 166–67, 171, 178 Feldman, Allen: on “Breaker’s Yard,” 102–4, 117–22; on H-Blocks as regenerating center of republicanism, 29, 91, 93–95, 96–98; on prison as recoding of identity, 165, 205, 216–17 feminism: and Armagh Gaol, 7n7, 30, 142–144, 170–72; and Hush-a-Bye Baby, 69–72; in Ireland, 41–42, 61–62; and Maeve, 57–59; and nationalism, 28–29, 40, 42–43, 44–56, 64–67; and Silent Grace, 178–79 feminist filmmaking: 35, 46, 53–64, 183–200 Foucault, Michel, 14, 27, 103, 159 Four Days in July (Leigh), 20–28 From a South-Facing Family, 9–12. See also Byrne, John gangster genre, 16–17 Gardiner Commission, 100 George, Terry, 157–58 Getino, Octavio, 18–19, 94 Gibbons, Luke: on Anne Devlin, 184–85, 186–88, 190–91, 198–99; on Maeve, 47n8, 48–49, 82, 113n16; on modernity in Ireland, 31, 242–43; on romanticism, 234 Greengrass, Paul, 238 Gregory, Derek: on postcolonial historiography , 3, 5, 38–39; on space of the exception, 1–3, 100 Hall, Stuart, 160–61 Harkin, Margo, 68–69, 80, 87, 88n29. See also Hush-a-Bye Baby H-Blocks: bare life in, 96; construction of, 100; guards in, 117–18; hunger strikes in, 120–22, 178; prison regime, 106–10; protests in, 95–98, 118–20, 141–42; representations of, 29–30, 89–92, 110–17, 163–64. See also Blanketman/Blanketmen; H3; Index ◎ 269...