ABSTRACT

That Northern Ireland remains profoundly troubled by its own violent past becomes readily apparent in many of the movies that have appeared since the Good Friday Agreement and not least those released since its tenth anniversary. In this article, I provide a broad sketch of recent Northern Irish cinema before moving to a close reading of two critically and commercially acclaimed features released in that period: Hunger (2008) and ’71 (2014). The discussion is framed by Mark Fisher’s reading of the Derridean notion of “hauntology” and focuses specifically on the idea that the spectre is a figure that is both retrospective and prospective. In their evocation of the ghosts of the Troubles, these movies offer an insight into a society that remains haunted both by the “no longer” of those who died during the conflict and also, perhaps, by the “not yet” of that which suffered a similar fate during the peace process that followed.

摘要

自耶稣受难日协议以来出现的许多电影中，尤其是自其十周年以来发行的电影中，北爱尔兰仍然因其自己的暴力过去而深受困扰，这一点显而易见。在这篇文章中，我提供了最近北爱尔兰电影的大致概况，然后再仔细阅读那个时期发行的两部广受好评和商业赞誉的电影：饥饿(2008) 和71 (2014)。讨论的框架是马克·费舍尔对德里德的“鬼魂学”概念的阅读，并特别关注幽灵是一个既具有回顾性又具有前瞻性的人物的观点。在他们唤起麻烦的幽灵时，这些电影提供了对一个仍然被“不再”的人所困扰的社会的洞察力。那些在冲突中丧生的人，也许还有那些在随后的和平进程中遭受类似命运的人“尚未”死亡。