LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:

OpenAIRE is about to release its new face with lots of new content and services.
During September, you may notice downtime in services, while some functionalities (e.g. user registration, login, validation, claiming) will be temporarily disabled.
We apologize for the inconvenience, please stay tuned!
For further information please contact helpdesk[at]openaire.eu

fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Goff, Loretta (2017)
Publisher: Film and Screen Media, University College Cork
Languages: English
Types: Article
Subjects: Film studies, Irish Jam (John Eyres, 2006), The Guard (John Michael McDonagh, 2011), Irish cinema, Racial stereotypes, National stereotypes, Cultural sterotypes, Theories of humour
This article applies theories of humour (incongruity, superiority, relief) to a reading of the films Irish Jam (John Eyres, 2006) and The Guard (John Michael McDonagh, 2011) in order to interrogate their depiction of racial, national and cultural stereotypes and differences. Both films combine elements of humour in their portrayal of the “fish out of water” experiences of the African-American male leads in Ireland. Through this we see three consequences: the incongruity of the protagonists’ experiences, both in terms of their expectations of Ireland and the expectations the Irish have of them; the superiority felt by certain locals, and, thus vicariously, by audience members for recognising moments of (what they consider) ignorance or racism; humour being used to relieve the tensions of interacting with the Other. I argue that the different uses of humour in these films function as a social corrective in their interrogation of racist ideologies. However, the films play it safe by taking their protagonists out of America, allowing the discussion of race to unfold in Ireland where whiteness holds a unique status (as simultaneously nonwhite because of the historical discrimination the Irish faced), and racial and national differentiation can be conflated. Equally, the films ultimately remain conservative in their interrogation of racism, confronting certain stereotypes while perpetuating others.

Share - Bookmark

Cite this article

Cookies make it easier for us to provide you with our services. With the usage of our services you permit us to use cookies.
More information Ok