After Galway 2020: what European Capitals of Culture still buy an Irish city A European Capital of Culture is not a year of posters. It is a Union action under…
Accessibility on Irish and European VOD: subtitles, sign, description, and the two clocks A European viewer who can turn on subtitles for a language they do not…
Irish podcasts as a European export: audio that travels when the schedule does not A European commuter who has never opened RTÉ Player has often already heard I…
European hit versus Irish box office: what the till says that the festival does not A European film can be a hit in Locarno and a rumour in Limerick. An Irish f…
Ireland’s co-production treaties: how a film becomes “national” twice A European producer who says “we’ll just co-pro it” is using a slang word for a treaty act…
Diaspora screens: how Irish film festivals abroad build a European (and transatlantic) audience An Irish film that never plays a Tuesday in suburban Dublin can…
Finding Irish film in Europe: why production records are not audiences Ireland can point to record production spend, a thicker VFX offer and a strategy document…
Film literacy in Irish schools: a European habit, not a cinema trip A European reader who treats film literacy as an optional school outing is looking at the Ir…
Who owns the Irish story? IP rights after the DSM Directive A European viewer who finishes an Irish drama, a TG4 crime series or a Cartoon Saloon feature is con…
Polish, Brazilian and Ukrainian media demand in Ireland Ireland’s screen and news policy still talks, most days, as if the audience were Irish-English, Irish-la…
Irish-language cinema has had a decade that policy documents now treat as a turning point: An Cailín Ciúin at the Oscars, Kneecap on the festival and BAFTA circ…
Subtitle culture: how Irish and European viewers actually read the screen A European film in an Irish living room is often a reading event. The image is French,…
4 days ago
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· By MSMN Newsroom
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