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dc.contributor.advisorCullingford, Elizabethen
dc.contributor.advisorHoad, Neville Wallace, 1966-en
dc.creatorMoser, Joseph Paulen
dc.date.accessioned2012-09-20T17:48:15Zen
dc.date.available2012-09-20T17:48:15Zen
dc.date.issued2008-08en
dc.identifier.urihttp://hdl.handle.net/2152/17943en
dc.descriptiontexten
dc.description.abstractExamining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass).en
dc.format.mediumelectronicen
dc.language.isoengen
dc.rightsCopyright is held by the author. Presentation of this material on the Libraries' web site by University Libraries, The University of Texas at Austin was made possible under a limited license grant from the author who has retained all copyrights in the works.en
dc.subject.lcshFord, John,--1894-1973--Criticism and interpretationen
dc.subject.lcshSheridan, Jim,--1949---Criticism and interpretationen
dc.subject.lcshGreengrass, Paul--Criticism and interpretationen
dc.subject.lcshMasculinity in motion picturesen
dc.subject.lcshIrish in motion picturesen
dc.subject.lcshIrish Americans in motion picturesen
dc.subject.lcshMotion pictures--Irelanden
dc.subject.lcshMasculinity--Irelanden
dc.subject.lcshPatriarchy in motion picturesen
dc.subject.lcshPatriarchy--Irelanden
dc.subject.lcshViolence in motion picturesen
dc.subject.lcshViolence in men--Irelanden
dc.subject.lcshViolence--Irelanden
dc.titlePatriarchs, pugilists, and peacemakers : interrogating masculinity in Irish filmen
dc.description.departmentEnglishen
thesis.degree.departmentEnglishen
thesis.degree.disciplineEnglishen
thesis.degree.grantorThe University of Texas at Austinen
thesis.degree.levelDoctoralen
thesis.degree.nameDoctor of Philosophyen


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