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By Kane Simon Geary O'Keeffe The explosion of Irish media representation in the last ten years is readily apparent. Just last year, Irish produced film The Favourite (2018) swept awards ceremonies. As well as that, Cartoon Saloon has become an internationally successful animation powerhouse. While this relatively recent rise in worldwide attention toward the Irish entertainment industry is more than welcome, it has also served to highlight some of the issues of representation that said industry faces in our country. With more eyes on our visual media than ever before, it has never been more important to focus on how we as a people are represented on screen to this international audience. Unfortunately, throughout the last ten years or so, the depictions of the Irish people in our own mainstream media have had a damaging effect on our image, as we are often relegated to roles such as criminals and other forms of ‘crook.’ These negative depictions of the Irish people, coupled with our tendencies to accentuate the portrayal of our negative stereotypes on screen, means that while we as a nation might certainly be on the rise with our presence on screens around the world, we are still far off from an ideal industry. Inclusivity is an extremely important part of portraying a nation’s people on screen. While it’s great to see many depictions of our working class on screen, since Love/Hate (2010-2014) became a huge hit at the beginning of the decade, the dominating image of Irish people on our screens has shifted to include a criminal element to that working class image. The depiction of the Irish as a criminal people has become more and more prominent in the years since Love/ Hate’s release. The success of Films and T.V shows such as The Young Offenders (2016), Cardboard Gangsters (2017), Michael Inside (2017), and Between The Canals (2010) have brought this damaging image of the Irish as a people who seem to take pride in a criminal identity into the spotlight. The fact that many of these are distributed internationally by Netflix only ensures that this starts to become the more prominent image of the Irish people in the minds of international viewers. Many if not all of these films and shows have predominantly Irish production crews, so it is even more unfortunate to see that this issue of representation is being perpetuated by ourselves. It may be an attempt from us as a country to break away from the ever popular image of the rural, devoutly religious villagers that still permeates our culture, but this extreme flip from one side of the coin to the other is having equally damaging effects on the depiction of ourselves as a people. Even characters in shows that have become international phenomena like Peaky Blinders and Mrs Brown’s Boys have included Irish characters that are defined by their willingness to commit crimes and live a less than desirable, and often illegal, lifestyle. If we are to grow as a people towards an ideal film industry in Ireland, it may be a good idea, as well as our own responsibility, to show modern international audiences that we are more than organised drug dealers and criminals, and instead strive to bring more facets of our proud and multi-layered culture to the screen. The issue with our own representations on screen does not end with our gravitation towards this prominent criminal image. The Irish as a people have faced issues in recent years with distancing ourselves away from the negative stereotypes that we are commonly associated with. The ever present Irish mammy, the fighting alcoholic (although the image of alcohol pretty much stretches across all depictions of the Irish), and the ‘Holy Joe.’ These stereotypes often cast us as a conservative nation, stuck in the past. However, as our recent referenda have shown, this is far from the case, as Ireland is often seen to be at the forefront of international social progress.
This position is not adequately shown on our screens, as our media tends to cling instead to these dated and damaging stereotypes. Mrs Brown’s Boys once again comes to mind as one of the more famous examples of this in practice. The controlling image of the ‘mammy’ forms the fulcrum around which the show revolves. Mrs Brown herself is problematic in that she represents a time of conforming to traditional gender roles that is best left in the past. Her supporting cast is equally problematic. Not only do we have Buster, who once again becomes the embodiment of this new ‘urban criminal’ type. We have the holier-than-thou ‘Father Damian’ and Mrs Brown’s own son Trevor, another priest. The show also relegates its only queer characters, Ruairi and Deano, to stock stereotypes whose only function is to be the butt of jokes, often in poor taste. Mrs Brown’s Boys is far from the only culprit here. Films produced in our own country, such as Grabbers (2012), in which Irish islanders can only keep hungry monsters at bay through consuming dangerous amounts of alcohol, and The Guard (2011), in which the central character, Brendan Gleason’s titular guard, declares that “racism is part of my culture,” continue to portray us in a less than desirable light. While at times, the utilisation of these damaging images is part of a comedic attempt at self parody, often it only serves to add to the depictions of problematic stereotypes that will continue to shape how international viewers perceive the Irish people. As part of the oncoming journey towards our ideal film industry, it is essential that we as a people become more aware of these negative stereotypes and controlling images, and instead take this opportunity to show our country and our people for what they are and will continue to be: a center for inclusion and social progress. I hope to see our screens become a place where Ireland is shown as an island firmly rooted in the future, instead of the past.
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