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…
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…
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,…
Ask where Ireland’s screen industry “is” and the postcard answer is the whole island: cliffs, Gaeltacht roads, a Limerick sound stage, a Galway producer’s offic…
Ireland’s documentary boom and the European festival-to-living-room path A European living room now treats non-fiction as a default genre. True-crime series, ce…
6 days ago
· 7 min read
· By MSMN Newsroom
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