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Body of Evidence: Performing Hunger

  • Emilie Pine
Chapter
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Abstract

Post-conflict films of the Northern Irish Troubles are, overwhelmingly, male-dominated narratives. These screen stories are marked not by representations of militarized masculinities, but by victimized masculinity and the struggle for masculine definition. This has less to do with the wider-scale perceived ‘crisis in masculinity’ which inflects British films such as The Full Monty (Peter Cattaneo, 1997) and Irish films such as I Went Down (Paddy Breathnach, 1997), and more to do with creating a post-conflict masculinity that audiences can identify with in the context of the peace process and, in this context, that audiences can extend understanding and forgiveness to. This trend is particularly noticeable in films about the 1981 hunger strike.

Keywords

Restorative Justice Peace Process Innocent Victim Prison Officer Commanding Officer 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 2.
    Stefanie Lehner, ‘Post-conflict masculinities: filiative reconciliation in Five Minutes of Heaven and David Park’s The Truth Commissioner’, in Caroline Magennis and Raymond Mullan (eds), Irish Masculinities (Dublin: Irish Academic Press, 2011), 67.Google Scholar
  2. See also Fidelma Ashe’s work on masculinity and the peace process, ‘Gendering war and peace: militarized masculinities in Northern Ireland’, Men and Masculinities 15 (3) (2012), 230–48; and ‘From paramilitaries to peacemakers: the gender dynamics of community-based restorative justice in Northern Ireland’, The British Journal of Politics and International Relations 11 (2009), 298–314.CrossRefGoogle Scholar

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© Emilie Pine 2014

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  • Emilie Pine

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