Magners Man: Irish Cider, Representations of Masculinity and the "Burning Celtic Soul"

In this paper we go in search of the Celtic Soul, tracking its historical intertwining with, and relation to, Irish masculinity, from Ireland's pre-colonial past to its colonial days and finally to its postcolonial present. We argue that the Celtic soul manifests itself, with great success, in the Magners Irish Cider advertising campaign. As a key part of our analysis we also illustrate how representations of the Irish Celt serve as a means of enabling young male consumers to reconcile the many tensions and contradictions they are experiencing over what it means to perform ideals of masculinity in contemporary western culture.

Gender, Nationality and Cultural Representations of Ireland: An Irish Woman's Place?

Ireland has struggled with its ‘feminine’ identity throughout its history. The so-called ‘chasmic dichotomy of male and female' is embedded in colonial and postcolonial constructions of Irishness and it continues to manifest itself in contemporary cultural representations of Ireland and Irishness. This study explores issues of gender and nationality via a reading of a 70-second television advertisement for Caffrey's Irish Ale, titled ‘New York’. The article suggests that, although colonial and postcolonial discourse on Ireland continues to perceive the ‘feminine’ in problematic terms, this is gradually changing as Irish women increasingly, in poet Eavan Boland's words, ‘open a window on those silences, those false pastorals, those ornamental reductions’ that have confined us.

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

The British Army of the Rhine: Turning Nazi Enemies into Cold War Partners

Between 1945 and 1957, West Germany made a dizzying pivot from Nazi bastion to Britain's Cold War ally against the Soviet Union. Successive London governments, though faced with bitter public and military opposition, tasked the British Army of the Rhine (BAOR) to serve as a protecting force while strengthening West German integration into the Western defense structure. Peter Speiser charts the BAOR's fraught transformation from occupier to ally by looking at the charged nexus where British troops and their families interacted with Germany's civilian population. Examining the relationship on many levels, Speiser ranges from how British mass media representations of Germany influenced BAOR troops to initiatives taken by the Army to improve relations. He also weighs German perceptions, surveying clashes between soldiers and civilians and comparing the popularity of the British services with that of the other occupying powers. As Speiser shows, the BAOR's presence did not improve the relationship between British servicemen and the German populace, but it did prevent further deterioration during a crucial and dangerous period of the early Cold War. An incisive look at an under-researched episode, The British Army of the Rhine sheds new light on Anglo-German diplomatic, political, and social relations after 1945, and evaluates their impact on the wider context of European integration in the postwar era.

Muslims in Public and Media Discourse in Western Europe: The Reproduction of Aporia and Exclusion

This chapter scrutinizes the dominant public discourse in Western Europe. Drawing on examples from the UK, Germany, and France but also from the Netherlands, Denmark and Spain it illustrates the gradual transformation of discourse from an “exotic Islam” to a “threatening Islam” that endangers European values and safety and suggests that the combination of this “securitization” of Islam and the monopoly of the “Muslim voice” by radical Muslim activists leads to a vicious circle of misrecognition and enhancing the aporia of Europe's Muslims.

Picturing Gentrification: Representation of Urban Change, Pendleton Salford

The paper examines how visual representations of urban regeneration contribute to the gentrification process. It asks can alternative photographic and textual strategies provide a meaningful counter narrative to resist persuasive corporate discourses on urban revitalization? Focusing on the gentrification of social housing in Pendleton, Salford (Greater Manchester) the paper debates the role of visual imagery in fostering perceptions about urban change by evaluating fieldwork undertaken by the authors in the site since 2004. The paper will question whether such an in-depth longitudinal project and its consequent archive can be utilized as a political tool to highlight the wider processes involved in such regimes of disinvestment and accumulation. Through the combination of photography and site writing in the environment can certain economic and political processes be made legible if not fully visible to highlight causation and effect?