Ireland’s games tax credit: when interactive work counts as European culture For most of the last two decades Ireland treated games as an ICT export that happen…
Second-generation Irish audiences in Europe: citizenship, habit, and the missing shelf MSMN’s earlier diaspora-festivals piece asked how Irish film weekends tur…
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…
Irish music and festivals on the European live circuit A European summer now has an Irish date in it even if you never fly to Stradbally or Sligo. Irish artists…
Women’s football on Irish screens: rights, public service and the European season A European football weekend used to mean a men’s rights map: free-to-air inter…
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…
Who can buy an Irish newsroom? Media mergers, plurality and the EMFA A European reader who follows Irish news on a phone already lives inside a concentrated mar…
Data centres, streaming and the carbon bill behind the Irish catalogue A European evening of Irish or American television looks weightless: a tile, a Player, a…
Irish live-action drama arrives in European living rooms with faces attached: a Rooney adaptation, a Dublin crime family, an Apple TV+ sisterhood. Irish animati…
Ireland’s creator economy under the Digital Services Act A European teenager’s media diet is no longer only a schedule and a catalogue. It is a person: a footba…
3 days ago
· 7 min read
· By MSMN Newsroom
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