![]() Through the use of music, television and film, Doyle’s characters repeatedly resist their representation by an internal and singular Irish cultural framework, instead selectively employing popular culture as a potentially creative vehicle for self-definition, communication and communal formation. ![]() Doyle’s increasing involvement in the adaptation of his novels for television and film was motivated in part by his critique of Alan Parker’s reliance on religious imagery as a dominant reference point in the film adaptation of The Commitments. ![]() Roddy Doyle’s The Barrytown Trilogy opens the form of the novel to include multiple references to film, music and other forms of entertainment alongside literary references in order to break down the “wall between popular and high art,” and uses these cultural products to resist singular interpretative frameworks for self, communal or national representation. ![]()
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