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Notes
1 Ebert, “Once Movie Review,” in Rogerebert.com.
2 O’Connell, New Irish Storytellers. Narrative Strategies in Film, p. 174.
3 Carney, “Interview with ‘Once’ Director John Carney by Janaki Cedanna. Part 2,” in Janaki’s Musings.
4 Neale, “Questions of Genre,” in Film and Theory: An Anthology, p. 158.
5 Ibid.
6 Chandler, An Introduction to Genre Theory, p. 8.
7 McQuail, Mass Communication Theory. An Introduction, p. 200.
8 Neale, “Questions”; Altman, Film/Genre, pp. 15–16.
9 Buckingham, Children Talking Television: The Making of Television Literacy, p. 137.
10 Neale, “Questions,” p. 166.
11 Altman, Film/Genre, pp. 50-77; Neale, “Questions,” pp. 166–7.
12 Mondello, ‘Once’ [review].
13 Lemire, Once [review].
14 Moore, Once [review].
15 Sarris, Once [review].
16 Barnard, “Once: A Bijou of a Film,” in Toronto Star.
17 Lawson, Once [review].
18 Burr, “For “Once,” a Rock Musical with an Irresistible Charm,” in Boston Globe.
19 Rabin, Once [review].
20 Roeper, Once [review].
21 Carney, “Director John Carney Talks about Hit Film Once,” in Clash Music.
22 Knapp, The American Musical and the Performance of National Identity, p. 15.
23 Sala, “Preface,” in From Stage to Screen. Musical Films in Europe and United States (1927–1961), p. ix.
24 Bush Jones, Our Musicals, Ourselves: A Social History of the American Musical Theater; Stanfield, Body and Soul: Jazz and Blues in American Film, 1927–1963; Knapp, National Identity; Sala, “Preface”.
25 Grabarchuck, “The Finality of Stories Such as These: Exploring Narrative and Concept in Stephen Sondheim’s Into the Woods,” in From Stage to Screen. Musical Films in Europe and United States (1927–1961), p. 114.
26 Stanfield, Body and Soul, p. 177.
27 See chapters 6, 8, and 10 in Knapp, National Identity.
28 Knapp, “Getting Off the Trolley: Musical Contra Cinematic Reality,” in From Stage to Screen. Musical films in Europe and United States (1927–1961), p. 168.
29 Feuer, El Musical de Hollywood, pp. 55–6.
30 Knapp, “Cinematic Reality,” pp. 158–9.
31 Knapp, National Identity, p. 103.
32 Ibid., p. 9.
33 Knapp, The American Musical and the Performance of Personal Identity, p. 6.
34 Altman, The American Film Musical, p. 74.
35 Ibid., p. 63.
36 Ibid.
37 Feuer, El Musical; Knapp, National Identity, Personal Identity, “Cinematic Reality.”
38 Feuer, El Musical.
39 Ibid., pp. 112–24.
40 Ibid., p. 42.
41 Altman, Film Musical, p. 287.
42 Ibid., p. 322.
43 Feuer, El Musical, p. 91.
44 Altman, Film Musical, p. 272.
45 Neale, “Questions,” pp. 158–9.
46 Ibid., p. 158.
47 Neale, Genre, p. 48.
48 Neale, “Questions,” pp. 165.
49 Jauss, Toward an Aesthetic of Reception.
50 O’Connell, Irish Storytellers, p. 176.
51 Altman, Film Musical, p. 59–79.
52 O’Connell, Irish Storytellers, p. 176.
53 Ibid.
54 Johnston, “The Celtic Tiger ‘Unplugged:’ DV Realism, Liveness and Sonic Authenticity in Once (2007),” in The Soundtrack, p. 26.
55 Miriam Mara argues that the scene as a whole “forms the links to older, more traditional cultural sharing of Irish music,” reminding viewers “of the long-term ritual of sharing musical talent in Dublin” (Mara, “Just This Once: Urban Ireland in Film,” in Irish Studies Review, p. 433).
56 Altman, Film Musical, p. 126.
57 O’Connell, Irish Storytellers, p. 176–7; for example, the protagonist couples in Cabaret (Dir. Bob Fosse, 1972), Nashville (Dir. Robert Altman, 1975), All That Jazz (Dir. Bob Fosse, 1979) and, more recently, La La Land (Dir. Damien Chazelle, 2016) do not end up together.
58 In this vein, Tracy points out that “the couple’s crossing of cultural boundaries is ultimately a digression rather than a re-orientation as they return to the claims of their cultures, pasts and emotional pairings which reinforce rather than break down the divide between the Ireland of 20 years ago and today’s multicultural city dwellers” (Tracy, Once, p. 271).
59 Mara, “Just This Once,” p. 433.
60 Altman, Film Musical, p. 64.
61 Ibid., p. 74.
62 O’Connell, Irish Storytellers, p. 176.
63 Altman, Film Musical, p. 74.
64 Carney, “Interview with ‘Once’ Director John Carney by Janaki Cedanna. Part 1,” in Janaki’s Musings.
65 Altman, Film Musical, p. 317.
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Carlos Menéndez-Otero
Carlos Menéndez-Otero holds a PhD in English Studies from the University of Oviedo, and in Communication and Journalism from the University of Santiago de Compostela. He currently lectures at the Faculties of Education and Commerce, Tourism and Social Sciences at the University of Oviedo. His main research interests are Irish film and the representation of Ireland and the Irish in Irish-themed films from Hollywood's golden era, on which he has published over twenty papers and the book Irlanda y los irlandeses en el cine popular (1910–1970) (2017). Other research interests are contemporary Irish history, dubbing, television shows and regional television.