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In 1895 twenty-six-year-old Bridget Cleary disappeared from her house in rural Tipperary. At first, some said that the fairies had taken her into their stronghold in a nearby hill, from where she would emerge, riding a white horse. But then her badly burned body was found in a shallow grave. Her husband, father, aunt and four cousins were arrested and charged, while newspapers in nearby Clonmel, and then in Dublin, Cork, London and further afield attempted to make sense of what had happened. In this lurid and fascinating episode, set in the last decade of the nineteenth century, we witness the collision of town and country, of storytelling and science, of old and new. The torture and burning of Bridget Cleary caused a sensation in 1895 which continues to reverberate more than a hundred years later. Winner of the Irish Times Prize for Non-Fiction

This book examines early and silent cinema and its contexts in Ireland, 1895-1921. It explores the extent to which cinema fostered a new way of looking in and at Ireland and the extent to which the new technology inherited forms of looking from the image-producing cultural practices of the theatre, tourism, and such public events as state occasions, political protests, and sports meetings. It argues that before cinema emerged as an independent institution in the late 1910s, it was comprehensively intermedial, not only adapting to the presentational strategies of such forms as the fairground attraction, the melodrama, and the magic lantern lecture, but actually constituting these forms and altering them in the process. In locating cinema in relation to popular and elite culture during a key period of Irish history, it draws in particular on surviving films and photographs; articles and illustrations in newspapers, magazines, and trade journals; contemporary accounts; and official documents. Working against approaches that see early cinema as a precursor to the so-called 'classical' cinema of the 1920s onwards, it provide its readers with a wealth of contemporary material that allows them to see early cinema in its own terms as an evolving (audio-) visual form.

In an era of mass mobilisation, the Great Famine and rebellion, this book shows how the writers of the mid-19th century Dublin nationalist press were at the heart of Irish nationalist activities, and evaluates the consequences for the development of Irish nationalism.

This was the first comprehensive study of film production in Ireland from the silent period to the present day, and of representations of Ireland and ‘Irishness’ in native, British, and American films. It remains an authority on the topic. The book focuses on Irish history and politics to examine the context and significance of such films as Irish Destiny, The Quiet Man, Ryan’s Daughter, Man of Aran, Cal, The Courier, and The Dead.