Violence and the Domestic Sphere in Cinematic Representations of the Northern Irish Conflict

dc.contributor.advisorOroszné Gula, Marianna
dc.contributor.authorSzabó, Gábor
dc.contributor.departmentDE--TEK--Bölcsészettudományi Karhu_HU
dc.date.accessioned2013-05-06T13:40:22Z
dc.date.available2013-05-06T13:40:22Z
dc.date.created2013
dc.date.issued2013-05-06T13:40:22Z
dc.description.abstractThe separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. Peace and calm were represented by women who are able to tame violent men with domestic ties. Neil Jordan’s The Crying Game challenged and subverted these conventions by parodizing them with many border-crossings. Jordan’s film blurred the apparently stable borders, making way for new modes of representation from the second half of the 1990s.hu_HU
dc.description.courseAnglisztikahu_HU
dc.description.degreeBSc/BAhu_HU
dc.format.extent21hu_HU
dc.identifier.urihttp://hdl.handle.net/2437/167010
dc.language.isoenhu_HU
dc.rights.accessiphu_HU
dc.subjectNorthern Irelandhu_HU
dc.subjectCinemahu_HU
dc.subject.dspaceDEENK Témalista::Társadalomtudományokhu_HU
dc.titleViolence and the Domestic Sphere in Cinematic Representations of the Northern Irish Conflicthu_HU
dc.typediplomamunka
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