{The Irish in American Cinema 1910 – 1930:

Recurring Narratives and Archetypal Characters

Thomas James ScottUniversity of Ulster ColeraineMeCCSA-Postgraduate Network Conference 2013

The Irish in American cinema (1896-1910): Influences The Irish in American cinema (1896-1910): The Stage Irish

The Irish migrant narrative The Cinderella narrative The Onscreen Irish and the American melting pot philosophy

Going Straight: The Irish criminal and the social reform Narrative

Conclusion

Paper Structure

The Irish in Early American Cinema 1896 – 1910: Influences

The anti-Irish cartoon 'Contrasted Faces’ from Samuel R. Wells’ New Physiognomy (1866)

How Bridget Made the Fire (1900) A Wake in Hell’s Kitchen (1906)

The Finish of Bridget McKeen (1901)

The Irish in Early American Cinema 1896 – 1910: The Stage Irish

The Irish Migrant Narrative

Sidney Olcott’s A Lad from Old Ireland (1910)

The Irish Migrant Narrative

Conductor 1492 (1924)

Conductor 1492 (1924)

The Cinderella Narrative

The cartoon that accompanied Alma Whitaker's article accurately represents the characters typically found in 'Cinderella narratives' - the large domineering, house-keeping mother, the lazy drink-loving father and the young, Cinderella-like daughter can all be found in

Colleen Moore’s Irene. From the Los Angeles Times (April 18th, 1928)

The Cinderella Narrative

Irene (1926)Molly O’ (1922)

The Irish vs. the Italians in the Iron Horse (1924)

The Onscreen Irish and the American Melting Pot Philosophy

The Onscreen Irish and the American Melting Pot Philosophy

The Iron Horse (1924)

In American produced Jewish drama His People (1925), Mamie Shannon and Sammy Cominsky's friendship blossoms into a romantic inter-culture relationship. This particular shot seems to suggest that they are reaching across a ‘divide’ to embrace.

The Onscreen Irish and the American Melting Pot Philosophy

.

The Onscreen Irish and the American Melting Pot Philosophy

The Cohens and the Kelly's in Scotland (1930) is just one of a seven film series that centres on the love-hate relationship of an Irish and a Jewish family.

Little Annie Rooney (1925)Regeneration (1915)

Going Straight: The Irish Criminal and the Social Reform

Narrative

The role of the Irish priest and Irish cop in John Ford’s reform story The Blue Eagle (1926)

Side Street (1928) starred the real life Moore brothers as three Irish-American brothers.

Going Straight: The Irish Criminal and the Social Reform

Narrative

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‘Get yer feet off me shamrocks!’

Conclusion

Irish Fantasy (1929)