{"id":{"repo_id":"debrecen","oai_identifier":"oai:dea.lib.unideb.hu:2437/167010"},"canonical_url":"https://search.dev.ndltd.org/etd/debrecen/oai:dea.lib.unideb.hu:2437/167010","repository":{"repo_id":"debrecen","name":"University of Debrecen","base_url":"https://dea.lib.unideb.hu/server/oai/request"},"display":{"title":"Violence and the Domestic Sphere in Cinematic Representations of the Northern Irish Conflict","abstract":"The separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. Peace and calm were represented by women who are able to tame violent men with domestic ties. Neil Jordan’s The Crying Game challenged and subverted these conventions by parodizing them with many border-crossings. Jordan’s film blurred the apparently stable borders, making way for new modes of representation from the second half of the 1990s.","abstract_html":"The separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. Peace and calm were represented by women who are able to tame violent men with domestic ties. Neil Jordan’s The Crying Game challenged and subverted these conventions by parodizing them with many border-crossings. Jordan’s film blurred the apparently stable borders, making way for new modes of representation from the second half of the 1990s.","abstract_has_math":false,"creators":["Szabó, Gábor"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":"DE--TEK--Bölcsészettudományi Kar","school":null,"contributors":[],"advisors":["Oroszné Gula, Marianna"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-05-06T13:40:22Z","date_published":"2013-05-06T13:40:22Z","updated_at":"2026-07-27T19:13:41Z","subjects":["Northern Ireland","Cinema"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2437/167010","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Oroszné Gula, Marianna"]},{"key":"dc:contributor.department","label":"Department","values":["DE--TEK--Bölcsészettudományi Kar"]},{"key":"dc:creator","label":"Author","values":["Szabó, Gábor"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2013-05-06T13:40:22Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2013-05-06T13:40:22Z"]},{"key":"dc:date.issued","label":"Date","values":["2013-05-06T13:40:22Z"]},{"key":"dc:type","label":"Dc Type","values":["diplomamunka"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Northern Ireland","Cinema"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/2437/167010"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. Peace and calm were represented by women who are able to tame violent men with domestic ties. Neil Jordan’s The Crying Game challenged and subverted these conventions by parodizing them with many border-crossings. Jordan’s film blurred the apparently stable borders, making way for new modes of representation from the second half of the 1990s."]},{"key":"dc:description.degree","label":"Dc Description Degree","values":["BSc/BA"]},{"key":"dc:title","label":"Title","values":["Violence and the Domestic Sphere in Cinematic Representations of the Northern Irish Conflict"]}]}],"canonical_facts":{"dc:contributor.advisor":["Oroszné Gula, Marianna"],"dc:contributor.department":["DE--TEK--Bölcsészettudományi Kar"],"dc:creator":["Szabó, Gábor"],"dc:date.accessioned":["2013-05-06T13:40:22Z"],"dc:date.available":["2013-05-06T13:40:22Z"],"dc:date.issued":["2013-05-06T13:40:22Z"],"dc:description.abstract":["The separation and opposition of the personal and the political sphere was a crucial element of cinematic representations of the Northern Irish conflict from the 1940s to the early 1990s. Films of the era portrayed the personal sphere as the only redemption for men involved in violence. 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