Tony Tracy

Biographic Data

ID6177964
NAMETony Tracy
GIVEN NAMESTony
FAMILY NAMETracy
SIGNATURETRACY T
VERIFIEDNo
TOTAL WORKS18
TOTAL CITATIONS0
WORKS AS AUTHOR16
WORKS AS EDITOR2
FIRST PUBLICATION YEAR2006
LATEST PUBLICATION YEAR2022
H-INDEX0

  • Wedded to the land? Representations of rural ageing masculinities in Irish culture and society

    Open AccessÁine Ní Léime, Margaret O’neill et al.ARTICLEJournal of Aging Studies2022References: 4

    This article explores the interactions between social constructions and cultural representations of rural ageing masculinities in Ireland. Constructions of Irish masculinities have historically been linked to rural, farming identities emphasising physicality, self-reliance, patrilineal inheritance and traditional (Catholic) family values. Central to such constructions in many classic works of Irish literature, drama and film has been the powerful…

  • Irish Film and Television – 2019

    Open AccessIreland NUI Galway, Terry Tracy et al.ARTICLEEstudios Irlandeses2020

    Sometimes, even an annual review feels like it might be too frequent, especially if its subject is an industry wherein the activity often fails to resolve itself within neat 12 months intervals. The policies put in place to incentivise production and the broader development of the screen sector in Ireland operate across five year horizons

  • Irish Film and Television – 2018

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2019

    Introduction. Fin de Cinema? The Irish Screen Sector in 2018. In July 2018, the Irish Film Board announced that it was changing its name to Screen Ireland. It was done with relatively little fanfare or media attention and indeed still has to fully work through: as late as January 2019 Irish films were being simultaneously released

  • HTTPS

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2018

    Waking the Film Makers: Diversity and Dynamism in Irish Screen Industries 2017 Women have to fight really, really hard to get support to do a feature film ... If you just take for example, the Film Board, they’re aware of it, they’re kind of ashamed of it after Waking The Feminists

  • Irish Film and Television – 2016

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2017

    Globalizing the Local: Irish Film and TV in 2016 “Ireland's presence globally is through its culture, that's our strongest identifier” Lenny Abrahamson By any standards, 2016 was an exceptional year of output and achievements for the Irish audio-visual sector which continued to grow in activity

  • Irish Film and Television – 2015

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2016

    The Irish Are Coming: Irish Film and Television in 2015 Stephen Colbert: “How did I do with your name? ‘Sursha’.” Saoirse Ronan: “’Sursha” is perfect. ‘Sursha’ like inertia. SC: “What’s the worst pronunciation of your name that you’ve ever had?” SR: “I’ve had a lot of ‘Sore-sees’, ‘Suarez’, ‘Sair-she’, ‘Sheer-says’... SC: “You do look a little bit

  • Irish Film and Television – 2014

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2015

    I’m not a big fan of Irish movies, I don’t find them to be technically that accomplished and I don’t find them that intelligent. So I’m trying to get away from the description of the movie as an Irish film in a way. John Michael McDonagh, 2014 When John

  • Masculinity and Irish Popular Culture

    Open AccessConn Holohan, Tony TracyEDITORBOOKMasculinity and Irish Popular…2014

    Masculinity and Irish Popular Culture: Tiger's Tales is an interdisciplinary collection of essays by established and emerging scholars, analysing the shifting representations of Irish men across a ran

  • Irish Film and Television -2013

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2014

    Split Screens: The Year in Review 2013 In seeking to get a handle on a year in the life of a national audiovisual industry, its seems practical to commence with some basic facts – how many projects were completed, at what cost and in what specific areas (i.e. film, television and animation)? Time was, one could

  • Masculinity and Irish Popular Culture

    Conn Holohan, Tony TracyEDITORBOOKMasculinity and Irish Popular…2014

  • Irish Film and Television -2012

    Open AccessRoddy Flynn, Terry Tracy et al.ARTICLEEstudios Irlandeses2013

    Introduction At the Galway Film Fleadh 2012, young Irish film-maker Mark O’Connor released a ‘manifesto’ entitled: ‘Irish Cinema: A Call to Arms.’ While the idea of a manifesto seems almost quaint, a hangover from cinema history of the celluloid era, O’Connor’s short document offers an interesting perspective from which to consider developments in the Irish Film

  • Irish Film and Television – 2011

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2012

    Introduction On March 10 2012, The Irish Times reported that Ardmore Studios, the facility which since 1958 has in one way or another symbolized the attempt to establish a film industry in Ireland, faced closure owing to a lack of activity at the studio. Ardmore has faced “The End” before: in 1963, 1967, 1973 and 1982

  • Irish Film and Television – 2010

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2011

    Introduction In 2010 Ireland’s reputation as a modern, progressive economy reached a nadir unimaginable even a year ago. Over the past twelve months, increasingly negative assessments of the country’s political and economic acumen became commonplace in the national and then international media. ((The most recent example of which is the Vanity Fair (March 2011) article ‘When

  • Ireland’s Theatre on Film

    Terry Tracy, Tony TracyARTICLEHistorical Journal Of Film Radio…2011

  • Irish Film and Television – 2009

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2010

    At the launch of the 2008 annual Irish Film Board Review — complete with flowing wine, a lavish publication and complementary DVD compilation (Irish Talent on Film Vol. V) — CEO Simon Perry, still recalling the success of Once — stated that there had never been a better time for Irish cinema. There had

  • Irish Film and Television Review – 2008

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2009

    The fortunes of Irish cinema took a paradoxical turn in 2008. Years of economic boom turned to bust and with it went long-held ambitions for a sustained period of cinematic creativity and even greatness. For most of a century the emergence — and then development — of Irish cinema had seemed stymied

  • Irish Film and Television -2006

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2007

    Introduction This year's review of the year in Irish film and television is slender by comparison to 2005, reflecting the dearth of new productions, ongoing difficulties in distribution and the still unpredictable nature of the sector despite more than a decade of sustained infrastructural support. Six Irish films received a domestic release during the year: The Wind

  • Irish Cinema – 2005

    Open AccessTerry Tracy, NUI Galway Huston School et al.ARTICLEEstudios Irlandeses2006

    On being invited to contribute to Estudios Irlandeses with a reflection on film and television output in the year gone past, I felt that, rather than authoring a single overview, it would be useful to invite colleagues in Ireland to contribute to such an enterprise, on topics chosen by them. Partly this had to do