Contenido principal del artículo

Rubén Jarazo Álvarez
a:1:{s:5:"es_ES";s:32:"Universitat de les Illes Balears";}
España
Vol. 8 Núm. 1 (2023), Monográfico, Páginas 192-213
DOI: https://doi.org/10.17979/arief.2023.8.1.8732
Recibido: oct. 15, 2021 Aceptado: dic. 6, 2022 Publicado: ene. 9, 2023
Cómo citar

Resumen

Derry Girls (2018–presente), el mayor éxito de Channel 4 desde Max y Paddy’s Road to Nowhere (2004), es una comedia de situación para adolescentes ambientada en Irlanda del Norte antes del alto el fuego que, como no podría ser de otra manera, aborda cuestiones como el espacio a través de tropos habituales en la audiovisual adolescente. Esto es particularmente apreciable en “El concierto”, el tercer episodio de su segunda temporada, dirigido por Michael Lennox y escrito por Lisa McGee, un episodio donde los tropos dominantes son los del género de la road movie pero invertidos. Tal subversión estará directamente relacionada con cuestiones como espacio, identidad y contención durante el Conflicto norirlandés en la década de los noventa, así como con los confines de la adolescencia, el género, la etnia o clase social.

Descargas

Los datos de descargas todavía no están disponibles.

Detalles del artículo

Citas

Aitken, S., & Lukinbea, C. L. (1997). Disassociated Masculinities and Geographies of the Road. In S. Cohan and I. R. Hark (Eds.), The Road Movie Book (pp. 349–70) London: Routledge.

Ashe, F. (2012). Gendering War and Peace: Militarised Masculinities in Northern Ireland. Men and Masculinities, 15(3), 230–48.

Atkinson, M. (1994). Crossing the Frontiers. Sight and Sound, 4(1), 14–17.

Barton, R. (2004). Irish National Cinema. London: Routledge.

Brereton, P. (2003). Hollywood Utopia: Ecology in Contemporary American Cinema. Bristol: Intellect Books.

Brown, M. (2010). Cities under Watch: Urban Northern Ireland in Film. Éire – Ireland, 45(1/2), 56–88.

Burke, L. (2013). Into the West: The Frontier in Ireland’s Celtic Tiger Cinema. In C. J. Miller & A. B. Van Riper (Eds.), International Westerns: Re-Locating the Frontier (pp. 161–84). Lanham, MD: Scarecrow Press.

Clarke, D. (2012, August 17). Review of My Brothers. Irish Times.

Cohan, S., & Hark, I. R. (1997). Introduction. In S. Cohan & I. R. Hark (Eds.), The Road Movie Book (pp. 1–15). London. Routledge.

Corrigan, T. (1994). A Cinema without Walls. New Brunswick, NJ: Rutgers University Press.

Curtin, A., & Linehan, D. (2002). Where the Boys Are – Teenagers, Masculinity and a Sense of Place. Irish Geography, 35(1), 63–74.

De Certeau, M. (1988). The Practice of Everyday Life. Berkely: University of California Press.

Deffenbacher, K. (2019). Mapping Trans-domesticity in Jordan’s Breakfast on Pluto. M/C Journal, 22(4). https://doi.org/10.5204/mcj.1518

Driscoll, C. (2011). Teen Film: A Critical Introduction. Oxford and New York: Berg.

Edge, S. (2009). Negotiating Peace in Northern Ireland: Film, Television and Post-Feminism. Visual Culture in Britain, 10(2), 177–87.

Edinburgh TV Festival. (2018, August 24). Derry Girls Masterclass with Lisa Mcgee, Cast & Creatives. YouTube. https://youtu.be/A-WKotwcpgk.

Fagan, G. H. (2003). Globalised Ireland, or, Contemporary Transformations of National Identity? In C. Coulter & S. Coleman (Eds.), The End of Irish History? Critical Approaches to the Celtic Tiger (pp. 110–38). Manchester: Manchester University Press.

Fiske, J., & Hartley, J. (1978). Reading Television. London: Methuen.

FitzGerald, L. (2020). Border Country: Postcolonial Ecocriticism in Ireland. Ecozon@, 11(2), 59–65.

Ging, D. (2012). Men and Masculinities in Irish Cinema. London: Palgrave Macmillan.

Harvey, D. (1990). The Condition of Postmodernity. New York: Blackwell.

Hill, J. (2019). Cinema and Northern Ireland: Film, Culture and Politics. London: Bloomsbury.

Hill, J., McLoone, M., & Hainsworth P., eds. (1994). Border Crossing: Film in Ireland, Britain, and Europe. Belfast: Institute of Irish Studies, BFI.

Hopkins, P., & Pain, R. (2007). Geographies of Age: Thinking Relationally. Area, 39, 287–94.

Hughes E. (1991). Introduction - Northern Ireland, Border Country. In E. Hughes (Ed.), Culture and Politics in Northern Ireland, 1960–1990 (pp. 1–17). Open University Press.

Ireland, B. (2003). American Highways: Recurring Images and Themes of the Road Genre. Journal of American Culture, 26(4), 474–84.

Jung, S. (2011). K-Pop Beyond Asia: Performing Trans-Nationality, Trans-Industriality, and Trans-Textuality. Korean Society for Journalism & Communication Studies, 8, 99–129.

Kääpä, P. (2014). Ecology and Contemporary Nordic Cinemas: From Nation-building to Ecocosmopolitanism. New York: Bloomsbury Publishing.

Kinkaid, E. (2018). (en)Vision(ing) Otherwise: Queering Visuality and Space in Lefebvre’s Production. GeoHumanities, 4(2), 438–61.

Kirwan, P. (2011). Transatlantic Irishness: Irish and American Frontiers in Patrick McCabe’s The Butcher Boy. Comparative Literature, 63(1), 3–24.

Laderman, D. (2002). Driving Visions: Exploring the Road Movie. Austin, TX: University of Texas Press.

Long, M. (2021). Derry Girls and Containment: Conflict-Related and Transgenerational Trauma in Northern Ireland. Journal of Psychosocial Studies, 14(1), 3–17.

López, D. (1993). Films by Genre: 775 Categories, Styles, Trends, and Movements Defined, with a Filmography for Each. Jefferson, NC: McFarland & Company.

Lysaght, K. (2002). Dangerous Friends and Deadly Foes – Performances of Masculinity in the Divided City. Irish Geography, 35(1), 51–62.

Mac an Ghaill, M. (1994). The Making of Men: Masculinities, Sexualities and Schooling. Buckingham: Open University Press.

Mac an Ghaill, M. (1996a). Irish Masculinities and Sexualities in England. In L. Adkins & V. Merchant (Eds.), Sexualising the Social. Explorations in Sociology (pp. 122–44). London: Palgrave Macmillan.

Mac an Ghaill, M. (1996b). Understanding Masculinities: Social Relations and Cultural Arenas. Buckingham: Open University Press.

McDowell, S., & Shirlow, P. (2011). Geographies of Conflict and Post-Conflict in Northern Ireland. Geography Compass, 5(9), 700–9.

McGee, L., Leddy, C., Lewin, L., and Mulville, J. (Executive Producers). (2018–present). Derry Girls [TV series]. Hat Trick Productions; Channel 4.

McIlroy, B. (1998). Shooting to Kill: Filmmaking and the “Troubles” in Northern Ireland. Wiltshire, UK: Flicks Books.

McLoone, M. (2000). Irish Film: The Emergence of a Contemporary Cinema. London: British Film Institute.

Membrive, V. (2021). Banalising Evil? Humour in Lisa McGee’s Derry Girls. In D. Tüysüz (Ed.), International Perspectives on Rethinking Evil in Film and Television (pp. 164–75). Hershey: IGI Global.

Murray, R. L., & Heumann, J. K. (2010). Fast, Furious, and Out of Control: The Erasure of Natural Landscapes in Car Culture Films. In P. Willoquet-Maricondi (Ed.), Framing the World: Explorations in Ecocriticism and Film (pp. 154–69). Charlottesville: University of Virginia Press.

O’Toole, F. (2010). Ship of Fools: How Stupidity and Corruption Sank the Celtic Tiger. New York: Public Affairs.

Pettitt, L. (2000). Screening Ireland: Film and Television Representation. Manchester and New York: Manchester University Press.

Rockett, K., Gibbons, L., & Hill, J. (1987). Cinema and Ireland. London and Sydney: Croom Helm.

Royal Television Society. (2019). Lisa McGee discusses the success of Derry Girls and female-led comedies. Royal Television Society. https://rts.org.uk/article/lisa-mcgee-discusses-success-derry-girls-and-female-led-comedies.

Ryan, M. (2020). The Post-Agreement Northern Irish Bildungsroman. MA Thesis, Villanova University.

Sargeant, J., & Watson, S. (2000). Looking for Maps: Notes on the Road Movie as Genre. In J. Sargeant & S. Watson (Eds.), Lost Highways: An Illustrated History of Road Movies (pp. 5–20). London: Creation Books.

Schouten, J. (1991). Personal Rites of Passage and the Reconstruction of the Self. Advances in Consumer Research, 18, 49–51.

Schwerter, S. (2007). Literarisierung einer gespaltenen Stadt: Belfast in der nordirischen "Troubles Fiction" vom Realismus zur Karnevalisierung. Wissenschaftl: Verlag.

Sloterdijk, P. (1998). Sphären I. Blasen. Frankfurt: Suhrkamp Verlag.

Sloterdijk, P. (2005). Foreword to the Theory of Spheres. In M. Ohanian & J. C. Royoux (Eds.), Cosmograms, (pp. 223–40). New York: Sternberg Press.

Stringer, J. (2002). Exposing Intimacy in Russ Meyer’s Motorpsycho! and Faster Pussycat! Kill! Kill! In S. Cohan & I. R. Hark (Eds.), The Road Movie Book (pp. 181–94). London: Routledge.

Thrift, N. J. (2005). Movement Space: The Changing Domain of Thinking Resulting from the Development of New Kinds of Spatial Awareness. Economy and Society, 33, 582–604.

Thrift, N. J. (2009). Understanding the Affective Spaces of Political Performance. In M. Smith & L. Bondi (Eds.), Emotion, Place and Culture (pp. 79–95). Abingdon and New York: Routledge.

Tincknell, E. (2000). Queens of the Road: Drag and the ’90s Road Movie. In J. Sargeant and S. Watson (Eds.), Lost Highways: An Illustrated History of Road Movies (pp. 181–92). London: Creation Books.

Turner, F. J. (1920). The Significance of the Frontier in American History. In F. J. Turner (Ed.), The Frontier in American History (pp. 1–38). New York: Holt.

Turner, V. (1969). The Ritual Process: Structure and Anti-Structure. London: Routledge.

Van Gennep, A. (1960). The Rites of Passage. London and New York: Routledge.

Vaupel, A. (2017). Borderlines: A Critical Comparison of the Representation and Displayed Experience of Borders in Contemporary Youth Films from Germany and Ireland. In O. Mentz & T. McKay (Eds.), Unity in Diversity: European Perspectives on Borders and Memories (pp. 60–96). Berlin: Verlag.

Walsh, F. (2010). Male Trouble: Masculinity and the Performance of Crisis. New York: Palgrave Macmillan.