ABSTRACT

This essay seeks to understand how since the signing of the Good Friday Agreement in 1998, marking the end of The Troubles in Northern Ireland, filmic depictions of the conflict reinterpret and interrogate the traditional role of the ‘hero’ in the Irish republican cause. In an analysis of two films released after the Good Friday Agreement, Hunger (2008) and The Wind that Shakes the Barley (2006), this essay argues that both films feature a hero-type Irish republican waging a brave-but-futile campaign against British oppression, but critique the myth of the Irish republican hero by severing the cycle of mythical violence by sowing doubt in the hero myth that serves as its base. This essay suggests that film is a low-stakes arena for the interrogation of volatile narratives that plays an important role in the reconceptualization of a conflict and, maybe even, its resolution.

摘要

本文旨在了解自 1998 年《耶稣受难日协议》签署以来，标志着北爱尔兰麻烦的结束，对冲突的电影描述如何重新解释和质疑爱尔兰共和事业中“英雄”的传统角色。本文对《耶稣受难日协议》之后上映的两部电影《饥饿》（2008 年）和《风吹大麦》（2006 年）进行了分析，认为这两部电影都以英雄型的爱尔兰共和主义者为主角，发起了一场勇敢但徒劳的反抗运动。英国的压迫，但批评爱尔兰共和英雄的神话，通过在作为其基础的英雄神话中播下怀疑的种子，切断神话暴力的循环。本文认为，电影是审问不稳定叙事的低风险舞台，在冲突的重新概念化中发挥着重要作用，