By Richard Kirkland
Id Parades investigates of the position and value of id politics in smooth Northern Irish society. via a dialogue of the types of texts which are usually missed in analyses of tradition within the North – comparable to movie, biography, well known fiction and trip writing – the ebook charts the increase of identification as an more and more renowned method of defining person and communal association and considers its significance inside of Northern Irish political discourse as an entire. during this, identification Parades identifies not just the chances but additionally the boundaries of "identitarian" considering and describes the ways that id positions within the North can develop into afflicted, fossilized and self-parodic.
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Additional info for Identity Parades: Northern Irish Culture and Dissident Subjects
31 It is at this point that cognisance needs to be taken of David Lloyd’s call for an ‘anti-identitarian’ project32 as a means of resisting the universalising claims of those ‘bourgeoisified’ formations within nationalism that elide class difference through the assertion of national identity. For Lloyd, such resistance must begin with the ‘struggle against domination at the material level’ but it also involves recognition of a ‘narrative mode which refuses any single model of integration (or even of oppositional positioning)’.
24 Hidden Agenda (dir. Ken Loach, 1990) While in Hidden Agenda there is no ostensible attempt to project the individuation of a bourgeois subject in the manner of In the Name of the Father, the film’s political consciousness can similarly be said to reside in its formal structure. The story of a vast conspiracy theory Identity, Image and Ideology in Film 41 built around John Stalker’s aborted ‘Shoot to Kill’ inquiry but extended to include MI5’s attempts to subvert Harold Wilson’s Labour administration of the 1970s, the film’s plot revolves around Kerrigan (Brian Cox), an English policeman detailed to investigate the mysterious death of an American civil rights lawyer, Paul Sullivan (Brad Dourif), and Sullivan’s girlfriend, Ingrid (Frances McDormand), another American civil rights activist.
In suggesting that there is a pre-existent ‘economic, political and cultural complexity’ to Northern Irish society which can be apprehended as a whole and which is, in turn, travestied and simplified by cinematic representations (which are usually made from non-indigenous perspectives – or at least funded with non-indigenous Identity, Image and Ideology in Film 33 capital), Hill’s perception is granted a seductive coherence not least because it conclusively identifies blame. The critical position is in sympathy with the reality of life in Northern Ireland and the negotiations between various political, cultural and economic imperatives that it demands and, with this, locates the creation of stereotypes as a purely external perception.