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relationship with larger outside powers. With Britain in the east and America in the west, the Irish are
divided upon how to deal with these foreign forces. Presently, Ireland imports American culture and
modernity while exporting a traditional, picturesque image of itself. Thus, Ireland is “torn between
presenting itself as a modern, dynamic society… and an idyllic, prelapsarian culture unsullied by the
twentieth century” (Linehan, 46). It vacillates between inwardness and outwardness, tradition and
modernity, particularism and universalism. I argue that these binary oppositions intermix and eventually
break down. Irish cinema shows how modernity interacts with a particularity to create an identity that
wholly embraces neither essentialism nor modernism; instead it facilitates a dialogue between ostensibly
Ireland’s difficult relationship with superior outside powers began with British colonization,
which resulted in the loss of Ireland’s indigenous language and identity. The children of Into the West
must change their names for the welfare officer, Harry of Michael Collins must assume a different
identity to go west to America, and Fergus changes his name to “Jimmy” when he goes east to Britain.
Like the characters in the films, the films themselves also change identities when traveling overseas. Into
the West was marketed as a children’s movie in America though it was a movie for all ages in Ireland, and
American critics saw The Crying Game more as a critique of sexuality than of Irish nationality. Because
the domestic audience is too small to cover the costs of production, Irish filmmakers have little choice but
to look east and west to market their films. The result is a constant awareness of being watched. The
boys of Into the West are watched from the television news and from a helicopter, while both Michael
Collins’ paramilitary and Fergus’ IRA are under meticulous surveillance by the British police.
In “Reimaging the Nation,” Martin McLoone says that the reaction of some Irish nationalists to
this oppressive outside pressure is “to turn away from the modern world represented by [Britain and
America] and to look inward for a sense of Irishness” (28). Into the West adopts this Irish essentialist
attitude by idealizing rural Ireland of the west and denigrating Dublin of the east. The film establishes
this tension in the beginning, where a loud offensive plane sweeps away the scene of the grandfather’s
horse-drawn buggy by drowning it out both visually and aurally. Using the plane as a transition, the film
cuts to Papa and his sons standing in a dim elevator, which introduces the family’s suffocating
confinement within modern urban life. The elevator, in contrast to the rolling freedom of the western
landscape, is strictly rectangular and metallic, limited to linear movement. It is from this modern
existence in the eastern city of Dublin that the boys must escape.
The west represents the past, a temporal space untainted by modernism. Grandpa tells an ancient
Irish myth about Terminol in which a young man instantly ages when he falls off his horse. Ossie relives
this old myth in the present and refuses to dismount Terminol in a neurotic fear that he will turn old. The
movie associates youth with the past, with an innate and untainted Irishness. Thus, many important
moments of Into the West contain low shot with an upward angle, communicating that the story is told
During their journey to the west, the boys slowly recall and reconstruct memories of the past, of
their mother and their travelling days. In one scene, the boys reminisce around a campfire while an
ancient Irish castle lies in the background, allowing us to imagine as if the boys are camping in the past.
Like the time machine car of Back to the Future, one of the movies the boys watch, Terminol is the
vehicle by which the boys travel through time. The horse also functions as the Catholic mother of
Ireland. Terminol brings the boys to pray at a statue of the Virgin Mary, and a subsequent scene shows
Papa desperately crying to his wife, “Mary, Mary,” hoping that she will help. Thus, though the Travelers
are physically homeless and rootless, they are the spiritual roots of Ireland. The Travelers preserve Irish
myths, Catholic spirituality, and a connection with the natural landscape while the eastern urban Irish
Opposing groups of Irish people appear in Michael Collins as well. Throughout most of the
movie, Irishmen kill not the British, but other Irishmen who hold competing notions of what it means to
be Irish. The essentialist attitude manifests itself in this movie as Eamon de Valera, the Irish leader who
historically extolled a “frugal self-sufficiency” by eschewing foreign influences. During the jailbreak
scene in Michael Collins, de Valera insists that Collins and Harry stop cursing, a humorous premonition
of de Valera’s later puritanism. Collins, during the first half of the movie, is on de Valera’s side and tries
to expel British influence by urging his countrymen to disregard British rules. When a British tank rolls
in to the midst of a soccer game, one Irish soccer player enacts this doctrine of ignoring British rules by
continuing to play the game and eventually scoring a goal. There is a moment of triumph; the spectators
cheer at the soccer player’s brave assertion that Ireland will play its own game. But when the tank kills
the soccer player and proceeds to massacre the crowd, we see that ignoring the British without engaging
with them is absurd. The massacre scene is interspliced with an affectionate scene between Collins and
his girlfriend, just as the scene of the assassinations of British police officers is also interspliced with a
domestic scene between Collins and his girlfriend. This parallel editing shows that Ireland cannot enjoy a
private, peaceful domesticity because violence from the east will inevitably intrude.
Hence, Collins strikes a compromise and accepts British help to fight de Valera. Though Collins
receives criticism for his acceptance of aid from the east, de Valera himself looked west to America for
help. He escaped execution by virtue of being born in America and traveled to America to try to procure
legitimacy for the nation of Ireland. Both Collins and de Valera try to shape Ireland through the
mediation of external countries in the east and west. Just like these Irish revolutionaries, Irish filmmakers
“often require the endorsement of the metropolitan centers (especially London and New York), before
Irish talent is recognized at home” (Rockett, 23). Like Collins, Neil Jordan accepts help from the east
since most of his films are co-produced with British funds, and it was Neil Jordan’s Oscar success in
Into the West, despite its dominating Irish essentialism, also looks outside of Ireland. Through a
series of shot reverse shots, we alternate between the attentive faces of the boys and the TV set they are
watching, implying a dialogue between the two. In one scene, the boys watch TV through a hole in the
wall, showing us that they are looking into an entirely different geographical space, the space of the
American western. These western images, transmitted through a modern medium, parallel the indigenous
Irish myth, which is conversely transmitted through a traditional oral medium. Both discourses inspire
the boys to escape. When Ossie prays for Terminol, his prayer is answered by the television, which is
neither Catholic nor indigenously Irish. In the scene when the father dances and sings in the slums, we
move briefly to a close-up shot of a TV lying in the midst of this celebration of the Irish spirit. Thus, Into
the West does not outright reject modern global influences, but endorses an Irish essentialism that
is so powerful that images from the west “are now a part of common currency” (McLoone, 151), but Irish
filmmakers spend this cultural currency on Irish themes and problems. Historically, Ireland copes with
language, which came from the east. Now Irish filmmakers must similarly reappropriate cinematic
language, which comes mostly from Hollywood in the west. Into the West reappropriates American
cinema to invoke a particularly Irish spirit within the boys. The boys identify with the cowboys, heroes
with indomitable wild spirits riding west. Like one of the movies they watch, Butch Cassidy and the
Sundance Kid, the boys run away from the ever-watching and pursuing state. The boys also identify with
the Native Americans, though they do so unconsciously since Tato insists that they are the cowboys and
not the Indians. The cultural oppression of Native Americans within the American Western is a metaphor
for the Travelers’ oppression within Ireland, which in turn is a metaphor for Irelands’ history of
oppression within Western Europe. The oppressors always represent their victims as the antagonists,
which is why Tato rejects his identification with Indians, the antagonists of Westerns. Near the end, when
Papa says that they have a bit of both cowboy and Indian in them, he grasps the impossibility of
While Newell put clips of an American film genre into Into the West, Jordan incorporates
American film genres into Michael Collins. He “appropriates the epic bio-pic, film noir and the gangster
movie… for the present-day concerns of Irish audiences saturated in US cinema” (Pettitt, 258). Like Into
the West, Michael Collins involves a conflict between different groups of Irish people, each with
“different interpretations of what it means to be Irish” (McSwiney, 20). Each faction within Michael
Collins tries to expel competing notions of Ireland. What Collins realizes towards the latter half of the
movie, when he strikes a compromise with the British, is that Irish identity cannot be purified or distilled
Attempts to distinguish Irishness from unIrishness break down completely in The Crying Game.
Political, sexual, and geographical ambiguity defies all our attempts to align nationality, race, gender, and
sexuality. The difficulty of locating a spatial origin is especially difficult with the character, Jody. He
comes from the east as a British soldier, but the fact that he is black suggests that he may be from the
same political space as the Irish as a victim of British subjugation. This point becomes especially clear
when Jody is killed not by Fergus, but by a British armored car, which runs him over and comes to rest on
top of him. In the cut to the next scene, again an impersonal piece of British technology attacks its
victim, the IRA members, from above. Through a shot originating from the ground and directed up at the
hovering helicopter, the viewer shares Fergus and Jody’s sense of being crushed by an untouchable
outside power.
The film further aligns Fergus’ identity with that of Jody’s during Fergus’ first visit to Dil’s room.
As Fergus walks around the room, a tracking shot follows him until he stops behind a wall. We see
Fergus’ face framed through the opening in this wall, while a framed photograph of Jody rests in the
foreground, facing the viewer. This tableau foreshadows Fergus’ efforts throughout the rest of the film of
filling in Jody’s former role. Later in this scene, while Fergus is experiencing his orgasm, the film
dissolves from a shot of Fergus’ face into a shot of Jody’s photograph, which then dissolves into dream
images of Jody. This sequence exhibits Fergus’ desire for and identification with Jody.
Thus, The Crying Game discards the strict geographical categories of Fergus the Irishman versus
Jody the Englishman and breaks down the conceptual boundary between east and west. When Fergus
goes to Britain, we see a ship move across the screen horizontally from left to right, indicating Fergus’
journey from west to east. This scene then cuts into a shot of a brick wall, which is being chipped away
to gradually reveal a blurry cricket game. In a reverse shot, we see that it is Fergus as a construction
worker, drilling through a wall. The bricks having been cleared out, the shot returns its sight to the
cricket game, unobstructed and in focus. Here, the film visually represents its effort to break down spatial
boundaries to show us the cricket game, a symbol of the humanity and vitality that is embodied in Jody.
Fergus’ journey from west to east requires him to demolish preconceived demarcations of political and
sexual identity to find that he is more like the British Jody than the radically-Irish IRA.
Ireland’s identity is shaped by its encounters with the east and the west, and the way it chooses to
ideologically situate itself between the east and the west. Reactionaries to political and cultural
colonization by Britain and America try distill an essential Irishness by expelling instances of the
oppressor, just as de Valera of Michael Collins and the IRA of The Crying Game try to do. However, the
boundary set up between Irish and non-Irish influences proves to be too permeable. The east and west
constantly intrude and embed themselves in Irish existence, and the east and west often mediate Ireland’s
internal conflicts of identity. Instead of rejecting these influences, Irish filmmakers subvert unilateral
cultural domination by reappropriating eastern and western images to rediscover local particulars, and to
Due to Ireland’s small size and its history of colonization, it must constantly consider its relationship with
larger outside powers. Presently, Ireland imports American global culture and urban modernity while exporting a
traditional, rural, and picturesque image of itself to the rest of the world. Thus, Ireland is “torn between presenting
itself as a modern, dynamic society… and an idyllic, prelapsarian culture unsullied by the twentieth century”
(Linehan, 46). With Britain in the east and America in the west, the Irish are divided upon how to deal with these
outside forces: inwardness versus outwardness, tradition versus modernity, particularism versus universalism. I
argue that these binary oppositions interlink and interact with each other, and eventually, they break down. Irish
cinema shows how modernity interacts with a particularity to create an identity that wholly embraces neither
Ireland.
Ireland’s difficult relationship with superior outside powers begins with British colonization, which resulted
in the loss of Ireland’s indigenous language and identity. The children of Into the West must change their names for
the welfare officer, Harry of Michael Collins must assume a different name to go west to America, and Fergus
changes his name to “Jimmy” when he goes east to Britain. Like the characters in the films, the films themselves
also change identities when traveling overseas. Into the West was marketed as a children’s movie in America
though it was a movie for all ages in Ireland, and American critics saw The Crying Game more as a critique of
sexuality than of Irish nationality. Because the domestic audience is too small to cover the costs of production,
Irish filmakers have little choice but to look east and west to market their films. The result is a constant awareness
of being watched. The boys of Into the West are watched from the television news and from a helicopter, while
both Michael Collins’ paramilitary and Fergus’ IRA are under meticulous surveillance by the British police.
In “Reimaging the Nation,” Martin McLoone says that the reaction of some Irish nationalists to this
oppressive outside pressure, to “the dominance of first British and then American culture[,] was to turn away from
the modern world represented by these countries and to look inward for a sense of Irishness” (28). This attitude
yields films of the landscape type, presenting a rural Ireland rooted in Catholic spirituality and pastoral innocence.
However, the essentialism of these films is complicated by an outwardness, by the fact that landscape films keep a
keen eye on the west. In America, such a “romantic view of Ireland” would appeal to “the nostalgic imaginings and
Into the West displays the attitude of Irish essentialism by idealizing rural Ireland of the west and
denigrating Dublin of the east. The film establishes this tension in the beginning, where a loud offensive plane
sweeps away the scene of the grandfather’s horse-drawn buggy by drowning it out both visually and aurally. Using
the plane as a transition, the film cuts to Papa and his sons standing in a dim elevator, which introduces the family’s
suffocating confinement within modern urban life. The elevator, in contrast to the rolling freedom of the western
landscape, is strictly rectangular and metallic, limited to linear movement. It is from this modern existence in the
The west represents the past, a temporal space untainted by modernism. The boys camp while the ruins of
an old Irish castle lay in the background, and they nostagically recall the past and lament the loss of their mother
and of their travelling days. The vehicle by which the boys make their journey to the past is Terminal, which
functions like the time machine car of Back to the Future, one of the movies that they watch. The horse also
functions as the mother and the Catholic roots of Ireland. It brings the boys to pray at a statue of the Virgin Mary,
and a subsequent scene shows Papa desperately crying to his wife, “Mary, Mary,” hoping that she will help.
Earlier in the film, Grandpa tells a traditional Irish myth about Terminol(sp?) about a young man who
instantly becomes old when he gets off his horse. Ossie relives this old myth in the present and refuses to dismount
Terminol(sp?) in a neurotic fear that he will turn old. The movie associates youth with the past, with an innate and
untainted Irishness. Falling off the horse will result in the destruction of that Irish innocence- age and modernity
will immediately catch up. The race memory revealed by Grandpa’s myth encourages the boys to cling on to their
essential Irishness, while it also reverberates with a fear that the essential Ireland will disappear if the Irish fail to
preserve the traditions embodied in Terminal(sp?) and the Travellers. The Travellers, though they are physically
homeless and rootless, are the spiritual roots of Ireland. Even though the antagonists of the movie are also Irish, the
Michael Collins also portrays opposing factions of Irish people. Throughout most of the movie, Irishmen
kill not the British, but other Irishmen that hold competing notions of what it means to be Irish. The essentialist
attitude manisfests itself in this movie as Eamon de Valera, the leader of the Irish revolution. Historically, de Valera
extolled a “frugal self-sufficiency” that encouraged Ireland to eschew foreign influences. During the jailbreak
scene in Michael Collins, de Valera insists that Collins and Harry stop cursing, a humorous premonition of de
Valera’s later puritanism. Michael Collins, during the first half of the movie, is on de Valera’s side and tries to
expel British influence by urging his countrymen to disregard British rules. When a British tank rolls in to the
midst of a soccer game, one Irish soccer player enacts this doctrine of ignoring British rules by continuing to play
the game and eventually scoring a goal. There is a moment of triumph; the spectators cheer at the soccer player’s
brave assertion that Ireland will only play by Irish rules. But when the tank kills him and proceeds to massacre the
crowd, we see that ignoring the British without engaging with them is absurd.
Hence, by the end of the movie, Collins strikes a compromise and accepts British help to fight de Valera.
Even before that, de Valera himself looks west to America for help. He escapes execution by virtue of being born
in America and later travels to America where he tries to procure legitimacy for the nation of Ireland. Thus, both
Collins and de Valera must shape Ireland’s conception through the mediation of external places in the east and west.
Just like these Irish revolutionaries, Irish filmakers “often require the endorsement of the metropolitan centers
(especially London and New York), before Irish talent is recognized at home” (Rockett, 23). Like Collins, Niel
Jordan also accepts help from the east since most of his films are co-produced with funds from Britain.
Into the West, despite its dominating Irish essentialism, also looks outside of Ireland. Through a series of
shot reverse shots, we alternate between the attentive faces of the boys and the TV set they are watching, implying a
dialogue between the two. In one scene, the boys watch TV through a hole in the wall, implying that they are
looking into an entirely different geographical space, the space of the American western. These western images,
which are transmitted through a modern medium, parallel the indigenous Irish myth, which is transmitted through a
traditional oral medium. Both the Westerns and the myth inspire the boys to escape. When Ossie prays for
Terminol(sp?), his prayer is answered by the television, which is neither Catholic nor indigenously Irish. In the
scene when the father dances and sings in the slums, we see a close-up shot of a TV lying in the midst of this
celebration of the Irish spirit. Thus Into the West does not simply extol Ireland and reject modern global influences,
but presents an Irish essentialism that interacts with its antithesis, modernism.
powerful that images from the west “are now a part of common currency” (McLoone, 151), but Irish filmakers
spend this cultural currency on Irish themes and problems. Historically, Ireland copes with colonization by external
powers through reappropriation. “Blarney” is a reappropriation of the English language, which came from the east.
Now Irish filmakers must similarly reappropriate cinematic language, which comes mostly from Hollywood in the
west. Into the West reappropriates American cinema to invoke a particularly Irish spirit within the boys. The boys
identify with the cowboys, heroes with indominatable wild spirits riding west. Like one of the movies they watch,
Butch Cassidy and the Sundance Kid, the boys run away from the ever-watching and pursuing state. The boys also
identify with the Native Americans, though they do so unconciously since Tato insists that they are the cowboys
and not the Indians. The cultural oppression of Native Americans within the American Western is a metaphor for
the Travellers’ oppression within Ireland, which in turn is a metaphor for Irelands’ history of oppression within
Western Europe. The oppressors always represent their victims as the antagonists, which is why Tato rejects his
identification with Indians, the antagonists of Westerns. At the end, when Papa says that everyone has a little bit of
cowboy and Indian in them, he grasps the impossibility of clearly demarcating a definition of Irish identity.
While Newell put clips of an American film genre into Into the West, Jordan incorporates American film
genres into Michael Collins. He “appropriates the epic bio-pic, film noir and the gangster movie… for the present-
day concerns of Irish audiences saturated in US cinema” (Pettitt, 258). Both Into the West and Michael Collins
involve conflicts between different Irishmen: the Travellers versus the Dubliners, the IRA versus the Irish working
for the crown, and de Valera versus Collins. Neil Jordan says that “the War of Independence was a war amongst
different interpretations of what it means to be Irish” (McSwiney, 20). The factions within these films champion
their idea of Ireland by expelling competing notions of Ireland. What Collins realizes towards the latter half of the
movie, when he strikes a compromise with the British, is that Irish identity cannot be purified or distilled into a
Attempts to distinguish Irish from non-Irish or natural from unnatural break down completely in The
Crying Game. Political, sexual, and geographical ambiguity defies all our attempts to aline nationality, race,
gender, and sexuality. Initially, viewers believe that Fergus has a “natural” sexual desire for Dil, only to realize that
this desire has lead him into an “unnatural” homosexual relationship, thus betraying his masculinity. Fergus is
passive and feminine whereas Jude, the female IRA terrorist, is violent and aggressive. Though Jude is ostensibly
the most purely Irish since she is steadfastly devoted to the Irish cause, when she goes east to London, she adopts a
new look, a high-tech urban sheen. With this cosmopolitan Jude, it becomes impossible to discern her provincial
Irishness.
The difficulty of locating a geographical origin is especially difficult with the charater, Jody. He is a black
British soldier, which means that he, like the Irish, was once subjugated by the British. Fergus, as a member of the
IRA, can perceive him both as a British oppressor and a British victim. Fergus goes through a crisis of identity as
he considers that perhaps, though he and Jody are from different geographical places, they may be from the same
political place, just as the Travellers of Into the West are from the same political place as the Native Americans.
Neither Fergus nor Jody seem personally devoted towards the cause which they are supposed to be fighting for, and
by the time Fergus leaves Ireland, we must discard strict categories of geographical origin and cease to see Fergus
Ireland must define its position in consideration of powerful eastern and western influences. One reaction
involves expelling instances of the oppressor to distill an essential Irishness, as de Valera of Michael Collins and the
IRA of The Crying Game seek to do. However, the boundary set up between Irish and non-Irish proves to be too
permeable and easily complicated, since British and American cultural influences have already embedded
themselves deeply within Ireland. However, each film’s heroes show that part of being Irish is being subversive,
and the films subvert unilateral cultural domination by reappropriating images from the east and the west to
compose a distinctly Irish picture. Irish filmakers lean upon foreign or universal cultural images to rediscover a
local particular and to articulate Irish identity by examining its response to discourses from the east and west.
Also, the primordial representation of Jody’s nature and virility is the image of Jody playing cricket, a British game.
However, Jody says the black man’s version of the game is better. He reappropriates a British game to reflect his
own nature.
• Both Fergus and Jody, at the beginning of the film, feel like “disposable pawns in someone else’s game.” By
the end of the movie, Fergus has asserted that he will not play by anyone else’s In Brtain, Fergus replaces Jody
in relationship with Dil, again suggesting that they are interchangable, from the same place. dreams of Jody
playing cricket, looks at pic of Jody while having sex w/Dil, dresses Dil in Jody’s cricket clothes. desire and
identification w/Jody. ultimate primordial representation of Jody and Jody’s virility is him playing cricket-
cricket is a British game. but Jody says the black man’s version of the game is better- reappropriation. idea of
the game and playing it differently, just like in Mike Collins.
• essentialism: frog gives scorpion lift, scorpion stings, “It’s in my nature.” it’s not in Fergus’ nature to kill Jody.
he is essentially human and compassionate, rather than essentially Irish: an appeal to universal human nature
rather than nationalism or factionalism.