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Crosson

Seán

Huston School of Film & Digital Media,

National University of Ireland, Galway

NO

YES

NO

My research interests include sport and cinema, Irish film, ethnicity and film, the Irish language and film, the digital humanities, Irish Literature (particularly the relationship between poetry and music) and national cinemas. My current research project examines the representation of sport in film, the subject of a conference and several symposia held in the Huston School over the past seven years, and of my award-winning monograph SPORT AND FILM (Routledge, 2013).
My teaching interests include World Cinema, Documentary, Film History, Irish Cinema, and Research Methods. I also teach classes on adaptation, the sports film, gender and cinema, and experimental film.
PUBLISHED WORK

Monographs
• Sport and Film (Routledge, 2013). Recipient of School of Humanities (NUI Galway) Book Prize 2012/13.

• ‘The Given Note’: Traditional Music and Modern Irish Poetry, (Cambridge Scholars Publishing, 2008)

Edited Collections
• (Co-editor with Werner Huber) Towards 2016: 1916 and Irish Literature, Culture & Society (Irish Studies in Europe, Volume 6) (Wissenschaftlicher Verlag Trier, 2015)

• (Co-editor with Werner Huber) Contemporary Irish Film: New Perspectives on a National Cinema (Braumüller, 2011)

• (Co-editor with Anne Karhio and Charle I. Armstrong) Crisis and Contemporary Poetry (Palgrave, 2011)

• (Co-editor with Philip Dine) Sport, Representation and Evolving Identities in Europe (Peter Lang, 2010)

• (co-editor with Rod Stoneman), The Quiet Man ... and Beyond: Reflections on a Classic Film, John Ford and Ireland (Liffey Press, 2009)

• (co-editor with Nessa Cronin and John Eastlake), Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009)


Peer Reviewed Journal Articles
• “From Babe Ruth to Michael Jordan: Affirming the American Dream via the Sports/Film Star”, Kinema: Journal for Film and Audiovisual Media, Issue 42 (Fall 2014): 79-104.

• ‘“Ar son an náisiúin”: The National Film Institute of Ireland’s All-Ireland Films, Éire-Ireland, Special Issue on Irish Sport, Vol. 48. Issue 1&2 (Spring/Summer 2013): 193-212.

• ‘Horror, Hurling, and Bertie: Aspects of Contemporary Irish Horror Cinema’, Kinema: Journal for Film and Audiovisual Media, Issue 37 (Spring 2012): 65-83.

• ‘‘for the honour of old Knock-na-gow I must win’: Representing Sport in Knocknagow (1918)’, Screening the Past: an online journal of media and history, Special Issue: Knocknagow (1918), Issue 33 (2012)


• (with Philip Dine) ‘Sport and the Media in Ireland: An Introduction’, Special Issue of Media History Journal on ‘Sport and the Media in Ireland’ Vol 17, Issue 2 (2011): 109-116.

• (with Dónal McAnallen) ‘“Croke Park goes Plumb Crazy”: Pathé Newsreels and Gaelic Games', Special Issue of Media History Journal on ‘Sport and the Media in Ireland’ Vol. 17, Issue 2, (2011): 161-176

• ‘Traditional Music and Song and the Poetry of Thomas Kinsella’, Nordic Irish Studies, Vol. 7 (2008): 71-89.

• ‘‘They can’t wipe us out, they can’t lick us. We’ll go on forever pa, ‘cause we’re the people’ - Misrepresenting death in Jim Sheridan’s In America (2003)’, Estudios Irlandeses: Journal of Irish Studies, Issue 3, (2008): 65- 71.

• ‘Performance and Music in the Poetry of Ciaran Carson’, Nordic Irish Studies, Special Issue: Contemporary Irish Poetry, Vol. 3, No. 1 (2004): 101-111.

• ‘Vanishing Point: An Examination of Some Consequences of Globalization for Contemporary Irish Film’, E-Keltoi: Journal of Interdisciplinary Celtic Studies, Vol. 2, Issue 1, (2003): 1-23

• ‘The Effacement of Ireland from Contemporary Irish Film’, Review of Postgraduate Studies, Issue 11, (2003): 94-105.

• ‘Irish Short Films – Essential Indigenous Productions’, Review of Postgraduate Studies, Issue 4 (1995): 40-43.


Peer-Reviewed Book Chapters
• ‘‘All this must come to an end. Through talking’: Dialogue and Troubles Cinema,’ in The Crossings of Art: Aesthetics and Culture in Ireland edited by Ruben Moi, Charles Armstrong, and Brynhildur Boyce (Peter Lang, 2014), pp. 81-96.

• ‘Irish Intolerance: Exploring its Roots in Irish Cinema’ in Contemporary Irish Film (Braumüller, 2011), pp. 23-36.

• ‘“The Given Note” Traditional Music, Crisis and the Poetry of Seamus Heaney’, in Crisis and Contemporary Poetry edited by Anne Karhio, Seán Crosson and Charles I. Armstrong, (Palgrave, 2011), pp. 82-98.

• ‘Anticipating a Postnationalist Ireland: Representing Gaelic Games in Rocky Road to Dublin (1968) and Clash of the Ash (1987)’ in Redefinitions of Irish Identity: A Postnationalist Approach, edited by Irene Gilsenan Nordin and Carmen Zamorano Llena. (Peter Lang, 2010), pp. 85-102.

• (with Dónal MacAnallen) ‘Portraying the Irish at Play: Cinema Newsreels and Gaelic Games (1920-39)’, L'art et le sport: Actes du XIIe colloque international du Comité européen pour l’histoire des Sports, Tome 1 (Atlantica, 2009), pp. 73-84.

• ‘Gaelic Games and “the Movies”’ in The Gaelic Athletic Association 1884–2009, edited by Mike Cronin, William Murphy and Paul Rouse (Irish Academic Press, 2009), pp. 111-136. [This collection was the recipient of the North American Society for Sport History (NASSH) award for best collection of sport history related essays published in 2009]

• ‘‘Shillalah Swing Time’...You'll thrill each time a wild Irishman’s skull shatters’: Representing Hurling in American Cinema: 1930-1960’ in Screening Irish-America: Representing Irish-America in Film and Television, edited by Ruth Barton (Irish Academic Press, 2009), pp. 148-164. [This collection was nominated for the prestigious Theatre Library Association 2010 Book Award.]

• ‘Nuala Ní Dhomhnaill: Reclaiming Women’s Voice from Song’ in Representing Ireland: Past, Present and Future, edited by Alison O’Malley-Younger and Frank Beardow (University of Sunderland Press, 2005), pp. 59-68.

Book Chapters
• ‘Filming Gaelic Games: George Fleischmann and the Emergence of a Distinctive Irish film culture post-World War II,’ in Ireland in Drama, Film, and Popular Culture (Festschrift Werner Huber) edited by Sandra Mayer, Julia Novak, and Margarete Rubik (Trier: WVT, 2012), pp. 91-100.

• (with Werner Huber) ‘Contemporary Irish Film: An Introduction’ in Contemporary Irish Film: New Perspectives on a National Cinema (Braumüller, 2011), pp. 1-12.

• (with Anne Karhio and Charles I. Armstrong) ‘Introduction’ in Crisis and Contemporary Poetry, (Palgrave, 2011), pp. 1-16.

• (with Philip Dine) ‘Exploring European Sporting Identities: History, Theory, Methodology’, in Sport, Representation and Evolving Identities in Europe (Peter Lang, 2010), pp. 1-12.

• ‘The Quiet Man…and Beyond: An Introduction’ in The Quiet Man ... and Beyond (Liffey Press, 2009), pp. 1-12.

• (with Nessa Cronin and John Eastlake) ‘The ‘Sea of Orality’: An Introduction to Orality and Modern Irish Culture’ in Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009), pp. 3-14.

• ‘Rewriting Boundaries: Traditional Irish Music and Contemporary Irish Poetry’ in Re-writing Boundaries. Critical Approaches in Irish Studies, edited by Asier Altuna and Cristina Andreu, (PPU, 2007), pp. 247-259.

Published Interviews
• (with Mark Schreiber) ‘“If Irish cinema is going to be really great it has to stop worrying too much about being 'Irish cinema'”: Q & A with Lenny Abrahamson and Mark O’Halloran’ in Contemporary Irish Film (Braumüller, 2011), pp. 127-148.
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