IFI Irish Film Archive
October 11th 1921: London, and Sinn Féin delegates, including Arthur Griffith, arrive for the first formal peace negotiations at 10 Downing Street. In this newsreel, scenes of the Irish Embassy at 17 Grosvenor Place, London are shown, with the Irish Tricolour flag prominently placed above the main entrance. Crowds are seen kneeling and praying on the street outside and cheer with Flags as the delegates leave the Embassy and make their way to Downing street to discuss the Anglo-Irish Treaty. It’s interesting to note the strong presence of the Tricolour in this newsreel as the National flag. It was first presented as a gift to Ireland in 1848 by the French, representing the reconciliation between Protestant and Catholics. Following the events of the 1916 Rising it was locally accepted as the national flag but wasn’t until 1937 that this was made official under the Constitution of Ireland.
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.
Our second IFI Filmmaker Playlist is curated by filmmaker and visual artist Trish McAdam. Since the production of her early shorts in the 1980s, Trish has created a vibrant and varied body of work, embracing a range of forms and subjects and retaining a singular, independent voice. We're delighted to welcome Trish to the Irish Film Institute to select her top picks from films preserved in the IFI Irish Film Archive and presented on the IFI Archive Player. Shot in 1953, this film highlighted housing discrimination practiced by the unionist-controlled council in the town of Fintona in County Tyrone. It outlines the inequalities faced by the poorer, and usually nationalist, inhabitants, and details how new council houses are being given to unionist residents who are in less need of the houses than nationalists. It argues that the discrimination is motivated by the desire to maintain a majority of unionist voters in certain constituencies. Housing Discrimination was produced by the Information Division of the Irish Department of External Affairs (now the Department of Foreign Affairs) and was allegedly partly shot using a hidden camera. In 1954 it was distributed in Britain by the Anti-Partition League, which prompted the Northern Ireland provincial government to complain to the British government, asking it to lodge a complaint with the Irish government. The film is interesting for a number of reasons; its originator (effectively the Irish government), its subject matter (housing discrimination in Northern Ireland), its argument (discrimination represents a conspiracy against the people of Ireland by a ruling group acting in concert with the British government) and its language (virulently Irish nationalist and anti-British). With kind permission of the Department of Foreign Affairs.
‘The day I don’t know who you are, promise to take me swimming’ – a melancholic promise between a husband and wife as her Alzheimer’s disease progresses. When Thady (Barry Ward) returns to his parents’ home for a neighbour’s wake, he is shocked by his mother’s decline (Olwen Fouéré, also seen in The Wake). Gone is the eloquent artist of the television interviews, and here now is a woman who has lost her capacity to carry out the most mundane tasks and spends her days in a local care centre. When he finds the crumpled promise in the pocket of an old dressing gown, the rest of his visit is spent bitterly resenting his mother’s condition and his father’s stoic acceptance. It is only when his mother goes missing in the middle of the night that he begins to understand how their love transcends her condition. Director Claire Dix and writer Ailbhe Keogan have since collaborated on the feature film Sunlight. This film is part of F-Rated: Short Films by Irish Women.
Novelist and poet Dermot Bolger sits down with Theo Dorgan to discuss his life and work. In particular, he explores the misperception of his writing as 'realism', his establishment of Raven Arts and his admiration of W.B. Yeats. Other topics are discussed including dealing with death and loss, criticism and ‘coincidental writing’. Bolger compares the writing process to a journey undertaken where the destination is unknown. He champions the work of Irish writer Francis Stuart and explores the synchronicity of his writing and current affairs. Imprint, a literature review programme, and its sister show Imprint: Writer in Profile screened on RTÉ1 for three seasons. Both were presented by Irish poet, writer and lecturer Theo Dorgan. Over the course of the Writer in Profile series Dorgan conducted extended, in-depth interviews with a wide range of Irish and international writers including Colm Tóibín, Bernard MacLaverty, Jennifer Johnston, Joseph O’Connor, Michael Longley, Doris Lessing, John Montague, Eavan Boland, Gore Vidal, Richard Ford and Margaret Atwood.
This episode with Paul Durcan begins with his interest in sport in his early childhood. He explains that he started writing poetry at 14 years old in the hope of attracting interest from girls. Durcan outlines his powerful relationship and mentorship with Michael Hartnett and how his influence led him to the work of James Joyce and Ulysses in particular. Theo Dorgan quizzes him on his status as a well-known public and important cultural figure. Durcan skates around the notion of celebrity and speaks about the importance of addressing public matters directly through poetry. He also discusses the writing process – the assembling and re-assembling of phrases in the middle of the night and the way a poem ‘announces itself’. Imprint, a literature review programme, and its sister show Imprint: Writer in Profile screened on RTÉ1 for three seasons. Both were presented by Irish poet, writer and lecturer Theo Dorgan. Over the course of the Writer in Profile series Dorgan conducted extended, in-depth interviews with a wide range of Irish and international writers including Colm Tóibín, Bernard MacLaverty, Jennifer Johnston, Joseph O’Connor, Michael Longley, Doris Lessing, John Montague, Eavan Boland, Gore Vidal, Richard Ford and Margaret Atwood.