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The After ’16 Collection is a creative response by Irish filmmakers to the events of Easter 1916, funded by Fís Éireann/ Screen Ireland (formerly Bord Scannán na hÉireann/the Irish Film Board).

This collection of films made for Bord Fáilte illustrate the development of the Irish tourist industry and the image that ‘brand’ Ireland was endeavouring to project, as it marketed itself as an international tourist destination.

The Department of Foreign Affairs was one of the many state bodies in Ireland to commission culturally worthy and educationally important films to be produced on its behalf, and would often partner with the National Film Institute (now the IFI).

Desmond Egan was a skilled, amateur filmmaker with a background in professional production. This collection of silent, colour films includes home movies, short dramas and documentaries which, unlike those of many other amateurs, are finely-crafted and edited works.

The Early Irish Free State Collection leads on from our previous historical release The Irish Independence Collection and explores aspects of the fledgling nation. IFI enlists the expertise of Brenda Malone (National Museum of Ireland) to add context to depicted events, people and locations, many of which were originally missed by non-Irish cataloguers.

Father Jack Delany served as a parish priest in the 1930s and 1940s, primarily on Seán McDermott Street, Rutland Street and Gardiner Street. His films of school events, tenement life, religious processions, and scenes within the Sisters of Our Lady of Charity Convent (which housed a Magdalene Laundry) provide us with a glimpse of life in Dublin at the time.

F-Rated: Short Films by Irish Women presents a varied selection of stories told through the prism of the female gaze. The films are drawn from collections preserved in the IFI Irish Film Archive, bringing together 36 short films made by Irish women over four decades.

The Amharc Éireann (A View of Ireland) Collection is a series of  newsreels showcasing Irish interest subjects from hard news stories to lighter magazine-like items. Amharc Éireann was produced by Gael Linn and screened in cinemas from 1956 to 1964.

This collection of the Horgan Brothers’ films (1910- 1920) are some of the earliest moving images made in Ireland. Brothers Philip, James and Thomas Horgan began their careers in the late 19th century in Youghal, Co. Cork.

Our inaugural playlist is curated by director Lenny Abrahamson, who selects his favourite films on the IFI Archive Player and preserved in the IFI Irish Film Archive.

The IFI Irish Film Archive, supported by a grant from the Broadcasting Authority of Ireland’s Archiving Funding Scheme, digitised, restored and preserved a large collection of 35mm film television advertisements made in the 1960, ‘70s and ‘80s. These commercials were made for broadcast on Irish television by prolific Irish advertising agencies.

The period 1900-1930 was one of the most turbulent in Irish history, with WW1, the Easter Rising, the War of Independence, the Irish Civil War all taking place. Due to the emergence of cine camera technology in the 1890s these three decades are the first to be widely documented on film.

This collection of short films preserved in the IFI Irish Film Archive celebrate James Joyce – the man and his literature. Joyce, himself a regular and passionate cinema goer, managed the Volta, one of Ireland’s first dedicated cinemas, for a short time when it opened its doors in December 1909.

Loopline has been at the heart of Irish independent broadcasting since its foundation in 1992 by Sé Merry Doyle. This is a collection of important and diverse documentaries on topics such as folklife, ethnology, architecture, art, literature and inner-city life.

Following The Loopline Collection Volume 1, this next tranche unveils the TV series Hidden Treasures, Mná an IRA and outtake excerpts from an unfinished film on documentary filmmakers.

Filmmaker Louis Lentin produced drama and documentary works for RTÉ for close to thirty years before embarking on an independent career, where his pioneering works uncovered injustices in Ireland’s past and were instrumental in effecting significant changes in Irish society.

Monsignor Reid acquired his first ‘movie’ camera in the mid-1930s. He continued to film until the 1970s and captured a wide variety of holiday and family activities in the United States, Ireland, France, Spain, England and Italy.

The O’Kalem films are remarkable examples of silent era filmmaking and claim to be the first fiction films made on two continents. They also illustrate the Irish emigrant experience in America at the start of the 20th century.

Patrick Carey was a prolific Irish filmmaker of considerable renown. His passion lay in the natural environment which he approached with awe, meticulousness and endless patience to create films that were supremely assured in their simplicity, and which garnered two Oscar nominations.

Radharc was an independent production company established by Father Joe Dunn, Father Desmond Forristal and other like-minded priests to make programmes for television and non-theatrical exhibition. Between 1961 and 1996 they made over 400 films in 75 countries on social, political and religious issues.

Roy Spence is an award-winning amateur filmmaker. For the past 50 years, Spence has been making and screening a series of remarkable and sometimes eccentric films in his cinema in Comber, Co. Down. The films span many genres from sci-fi, horror to folk-life documentaries, shot between 1965 and 1986.

Terence McDonald was a teacher, film historian, film collector and pioneering amateur filmmaker. Born in the city of Derry in 1926, the films he made during his lifetime are diverse in genre and subject and range from short comedies and experimental films to documentaries.