Recently on the Volta streaming platform I came across One Million Dubliners, a low-key Irish documentary from 2014 directed by Aoife Kelleher and produced by Rachel Lysaght for the Dublin production company Underground Films. The film was funded by the Irish Film Board and the Broadcasting Authority of Ireland. While watching, it occurred to meContinue reading “One Million Dubliners (2014) -v- Love/Hate (2010-14)”
Without knowing more about the random selection process, it’s hard to predict how much of the €105 million allocated to the BIA scheme will go to the screen sector, which arguably is not in need of such assistance given the record production levels of recent years.
What should we make of the relationship between RTE and Acorn TV, and the curious range of programming it has spawned?
It is clear that the fortunes of Ardmore, its Troy sibling, and its rivals at Ashford and elsewhere, are hugely dependent on developments in the international screen industries and the markets they service.
If Dublin is to continue to inspire filmmakers, artists, musicians and cultural producers of all types, the port’s atmosphere, history and sense of place is something the city cannot afford to lose.
Gene Wilder’s 1974 vanity project is one of the more unusual Hollywood depictions of Ireland and the Irish.
The 2020 Shooting Crew Agreement between SPI and SIPTU is testament to improving industrial relations in the Irish screen industries.
If Wild Mountain Thyme is succesful in reestablishing the West of Ireland as a viable Hollywood film location, expect the WRAP fund to see competition emerge from other regions of Ireland.
The most striking feature of the WRC’s report is the degree to which it legitimises the remarkable recent trend in the industry towards film worker organisation, not through the traditional medium of trade unions, but through the ‘guilds structure’ that continues to evolve, with 24 new guilds currently listed under the SGI umbrella.
RTE’s latest flagship drama appears to have an identity crisis.