Martin McDonagh, writer and director of The Banshees of Inisherin, skilfully defused any negative reaction to his film being designated as British at the Bafta awards. Photograph: Dominic Lipinski/Getty ImagesIt’s unlikely that shouts of “the British are coming” will ring around the Dolby Theater if Martin McDonagh and his co-producers end up, against the odds, onstage when the Academy Award for best picture is announced tomorrow night.
Does anyone really care? The focus on this year’s Irish success suggests they do, in a soft, fuzzy way. But there was a time when debates about authentic Irishness had more of an edge. During the vicious infighting that broke out within the minuscule local film community in 1981 over the funding of Neil Jordan’s debut, Angel. Fillmmakers attacked the production for using British crew and equipment, which, they argued, disqualified the film as Irish.
Four decades on, these disputes seem even more petty than they did at the time. But at the heart of the matter there were some profound and still relevant questions about why the State should put money into local production.
The English language has offered Irish filmmakers a competitive advantage over other countries ... but has also continued a tradition of dependence During the Angel controversy, some argued for the purest of answers to the question of what an Irish film was: it had to be made in Ireland by Irish people with Irish money.
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