IFI Irish Film Archive
This 1931 film from the Pathé Pictorial cinemagazine series features the Lartigue Monorail, running from Listowel to Ballybunion, Co Kerry. The steam-powered monorail (originally designed by Frenchman Charles Lartigue) operated from 1888 to 1924 and carried passengers, livestock and freight. In this newsreel we can see how the monorail rides along supported A-shaped trestles. Footage from the roof of the train treats the viewer to footage inside the driver’s carriage as well as exciting shots of the train travelling directly towards camera. Passengers disembark and smile at camera and children wave from the carriages. The line was severely damaged during the Irish Civil War and closed in 1924. This footage, dated 1931, is presumably retrospective film before its closure. Today, visitors can visit The Lartigue Museum and experience a trip on a diesel-powered replica of the original monorail. This film is part of The Irish Independence Film Collection – The Early Irish Free State that explores facets of Irish society after the War of Independence and up to the birth of the Irish Republic.
An advertisement for Valley Ice Cream, encouraging people to get their next ice cream pop from ‘the big red fridge’. Featuring all the favourites, including Choc Ice. Valley Ice Cream was based in Thurles, Co Tipperary, and closed in 1997.
In this newsreel the Ministry and members of the Republican Party who opposed the Treaty stand for the camera after contesting the policy of the Free State Party at the elections in 1922. On 14th January 1922 a meeting of the members elected to the House of Commons of Southern Ireland was held at the Mansion House, Dublin. At the meeting the Anglo-Irish Treaty was ratified by the Irish side and a Provisional Government was elected. Michael Collins was appointed its Chairman and the Provisional Government took up office two days later on January 16th 1922 when the British administration handed over Dublin Castle to Collins in person. The Treaty, which would replace the Republic as a dominion of the British Commonwealth, was signed on December 6th. De Valera was not happy with the signing of it as he had stipulated that regardless of the outcome the delegates should not be pressured into any agreements and should return to consult with the cabinet and him, their President. After the Treaty was narrowly ratified, de Valera and a large majority of Sinn Féin T.D.s left Dáil Éireann and Arthur Griffith was elected President.
Women in Focus is a curated selection of films by five wildly independent female amateur filmmakers: Margaret Currivan; Agnes Heron; Flora Kerrigan; Beres Laidlaw; and Sister Maureen MacMahon. Women's creative work has been under-reported and under-recognised and can be challenging to catalogue due to a lack of recorded primary information. This is exacerbated when dealing with amateur or non-professional filmmaking, where the work of individual women filmmakers has been even more invisible. In 2021, the IFI Film Archive acknowledged a limitation in the IFI Film Archive research resources and put a request out to academic partners to assist in developing new tools that would highlight the work of female filmmakers within the collection. This resulted in a collaborative research project that developed new approaches to cataloguing the creative contribution of women filmmakers in local, regional, and national archives. Funded by the Arts and Humanities Research Council and the Irish Research Council, as part of the UK-Ireland Digital Humanities scheme, the project is a UK-Ireland collaboration between the University of East Anglia, Maynooth University, and the University of Sussex, with the IFI Irish Film Archive and East Anglian Film Archive as archive partners. The project has resulted in the creation of a cataloguing toolkit that helps archives with moving image collections to create clear, relevant, and easily accessible records about female filmmakers. The work presented here formed case studies for the toolkit and was digitised by the IFI Irish Film Archive. A larger selection of films from the project will be made available on the IFI Archive Player in 2025.
The last episode of A Good Age explores the media representation of senior citizens and of the ageing process. Mary Robinson outlines her support for the Senior Citizen’s Parliament and Proinsias De Rossa discusses the enormous contribution senior citizens can make to society. Several others explore the effects of consumerism on senior citizens and the potential to use advertising to promote a positive approach to the ageing process. Eilish Hardiman discusses the banning of the TV advertisement for Fujifilm that showed a senior couple kissing in a laundromat, and various senior citizens rail against a society that they perceive is throwing them on the scrap heap. A Good Age is a six-part television series, directed by Sé Merry Doyle, tackling head-on the myths and misconceptions that result in ageism. A forthright approach was taken throughout as the joys and realities of getting older are examined.
This short film explores how the Grand Canal in Dublin has changed over the years. The voiceover provided by Irish novelist, short story writer and humourist John D. Sheridan, notes how methods of transport have changed and how fewer boats and barges now use the waterway. The aural memories are illustrated by poetic footage of the canal in the 1960s. The director, Margaret Currivan, won first prize for Up the Canal in the 'Film Shows Cup’ at the 1961 Dublin Amateur Cine Society competition (a competition predominantly entered by male filmmakers at the time). Margaret Currivan (b. 1923) was an avid amateur filmmaker, most prolific from 1954 to 1966. Currivan had a keen interest in photography and co-owned Currivan's Photographic Services in Dublin with her husband, Patrick Joseph (PJ). The shop processed and sold film, projectors, cameras and equipment and the filmmaker would, therefore, have had access to equipment, supplies and quick processing. Her films chronicle the story of her family, PJ and children Helen, Dan, and Paddy, engaged in key events including birthdays, Christmases and holidays. Currivan sometimes appears in her films, alluding to partial recording made by PJ. However, the shots are few and authorship is retained by Currivan who is noted to have also meticulously edited her films using a manual reel-to-reel device and splicer.