Graham Price – författare

Cinema is an affective medium. Films move us to feel wonder, joy, and love as well as fear, anger, and hatred. Today, we are living through a new age of sensibility when emotion is given priority over reason. Yet, there is a counter-cultural current in contemporary American cinema that offers a more nuanced treatment of emotion. Both aesthetically and eidetically, this new cinema of affect allows viewers to make up their own minds about what they feel and think.This book focuses on key films by important auteur-directors--David Fincher, Bryan Singer, Christopher Nolan, Kathryn Bigelow, Richard Linklater, Barry Jenkins, Greta Gerwig, and Pete Docter--who are to the forefront of this new cinema. It explores how they anatomize affect and how it functions in the creation or degradation of character and society.

Beginning Irish Studies provides a comprehensive introduction to the history and development of the increasingly influential academic discipline of Irish Studies and acknowledges its importance as a dynamic and constantly evolving method for analysing drama, literature, film and poetry in Ireland. It guides the reader to an understanding of the contextual underpinnings of this academic discipline – including gender, empire, eco-criticism, memory studies, and intersectionality– as well as the interpretation of these in cultural and critical theory. Beginning Irish Studies is both an introduction to the academic discipline of Irish Studies and an invitation to its readers to consider its further developments from various theoretical perspectives. It also endeavours to envisage the future Intersectional alliances that Irish Studies might make in the coming years across the international areas of literature, culture, and politics.

Beginning Irish Studies provides a comprehensive introduction to the history and development of the increasingly influential academic discipline of Irish Studies and acknowledges its importance as a dynamic and constantly evolving method for analysing drama, literature, film and poetry in Ireland. It guides the reader to an understanding of the contextual underpinnings of this academic discipline – including gender, empire, eco-criticism, memory studies, and intersectionality– as well as the interpretation of these in cultural and critical theory. Beginning Irish Studies is both an introduction to the academic discipline of Irish Studies and an invitation to its readers to consider its further developments from various theoretical perspectives. It also endeavours to envisage the future Intersectional alliances that Irish Studies might make in the coming years across the international areas of literature, culture, and politics.

This book is about the Wildean aesthetic in contemporary Irish drama. Through elucidating a discernible Wildean strand in the plays of Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness, it demonstrates that Oscar Wilde's importance to Ireland's theatrical canon is equal to that of W. B. Yeats, J. M. Synge and Samuel Beckett. The study examines key areas of the Wildean aesthetic: his aestheticizing of experience via language and self-conscious performance; the notion of the dandy in Wildean texts and how such a figure is engaged with in today's dramas; and how his contribution to the concept of a ‘verbal theatre’ has influenced his dramatic successors. It is of particular pertinence to academics and postgraduate students in the fields of Irish drama and Irish literature, and for those interested in the work of Oscar Wilde, Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness.okokpoj

This book is about the Wildean aesthetic in contemporary Irish drama. Through elucidating a discernible Wildean strand in the plays of Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness, it demonstrates that Oscar Wilde's importance to Ireland's theatrical canon is equal to that of W. B. Yeats, J. M. Synge and Samuel Beckett. The study examines key areas of the Wildean aesthetic: his aestheticizing of experience via language and self-conscious performance; the notion of the dandy in Wildean texts and how such a figure is engaged with in today's dramas; and how his contribution to the concept of a ‘verbal theatre’ has influenced his dramatic successors. It is of particular pertinence to academics and postgraduate students in the fields of Irish drama and Irish literature, and for those interested in the work of Oscar Wilde, Brian Friel, Tom Murphy, Thomas Kilroy, Marina Carr and Frank McGuinness.okokpoj