When we think of public funding and the Irish film, television and related cultural industries, we tend to focus on the major sources: the Section 481 tax credit; Screen Ireland production loans; and Arts Council funding. To a lesser extent, perhaps, we’re aware of regional supports like the WRAP fund. Smaller initiatives, like the variousContinue reading “Screening Dublin Port”
Recently, I was forwarded a YouTube link to a 1970 comedy that is something of an oddity among Hollywood depictions of Ireland and the Irish. Quackser Fortune Has a Cousin in The Bronx stars Gene Wilder in the title role, as an oddball Dubliner whose unusual occupation – the collection of horse manure for sale as fertiliser – triggersContinue reading “‘New Hollywood’ in Dublin: Notes on the Production of Quackser Fortune”
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.
‘Ryan’s Daughter’ demonstrates that Ireland’s appeal to international filmmakers is often based more on financial expediency than creative opportunity.