Brian McIlroy, B.A.(Sheffield), M.A.(Leeds), Ph.D. (UBC), specializes in Canadian and Irish Cinema. Other research interests include British cinema and television, Documentary, Early cinema and Irish literature. He is the author, editor or co-editor of six books, including Genre and Cinema: Ireland and Transnationalism (Routledge, 2007). His work has appeared in such journals as The Canadian Journal of Film Studies, The Canadian Journal of Irish Studies, Cineaste, Film Criticism, Literature/Film Quarterly, Mosaic, and Screen. In 2011, he was awarded the Killam Trusts Award for Excellence in Mentoring Graduate Students.
Genre and Cinema: Ireland and Transnationalism. Ed. Brian McIlroy. London and New York: Routledge, 2007. 304pp.
A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly, Jonathan Wisenthal, Sherrill Grace, Melinda Boyd, Brian McIlroy, Vera Micznik, Toronto: University of Toronto Press, 2006. 262pp.
Shooting to Kill: Filmmaking and the “Troubles” in Northern Ireland. Revised and Updated edition. First Canadian edition. Richmond, B.C.: Steveston Press, 2001, 224pp.
Auteur/Provocateur: The Films of Denys Arcand Andre Loiselle and Brian McIlroy.; Westport, Conn.: Greenwood Press and Praeger Publishers, 1995. 195pp.
Irish Cinema: An Illustrated History. Dublin: Anna Livia Press, 1988
World Cinema 2: Sweden. London: Flicks Books, 1986. 182pp.
Chapters in books:
“Between History and Fantasy: The Irish films of Neil Jordan” in The Blackwell Companion to Irish Literature, vol. 2 ed. Julia White (Oxford: Blackwell, 2010): 360-373.
“Searching for the (Sub) genre: Irish-American Film Comedy,” in Screening Irish-America: Representing Irish-America in Film and Television, ed. Ruth Barton (Dublin: Irish Academic Press, 2009): 299-311.
“Symbolic and Hyperreal Violence in the Irish Troubles Movie,” in Shadows of the Gunmen: Violence and Culture in Modern Ireland, eds. Sean Farrell and Danine Farquharson (Cork: Cork University Press, 2008): 107-118.
“Memory Work: Omagh and the Northern Irish Monumentary,” in Genre and Cinema: Ireland and Transnationalism, ed. Brian McIlroy (London and New York: Routledge, 2007): 261-272.
“White Nagasaki/White Japan and a Post-Atomic Butterfly: Joshua Logan’s Sayonara” in A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly, Jonathan Wisenthal, Sherill Grace, Melinda Boyd, Brian McIlroy, Vera Micznik (Toronto: University of Toronto Press, 2006): 123-135.
”The Repression of Communities: Visual Representations of Northern Ireland during the Thatcher Years” in Fires Were Started: British Cinema and Thatcherism. 2nd revised and updated edition. Ed. Lester Friedman. (London: Wallflower Press, 2006): 77-90.
“Kanehsatake: 270 years of Resistance” in The Cinema of Canada Jerry White. (London: Wallflower Press, 2006): 173-181.
“Neil Jordan and the Anglo-Irish Gothic” in Horror International Steven Schneider and Tony Williams (Detroit: Wayne State University Press, 2005): 128-40.
”Exodus. Arrival and Return: The Generic Discourse of Irish Diasporic and Exilic Films” in Keeping it Real: Contemporary Irish Film and Television Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77.
“The Tuxedoed Fallacy and other Viewing Formation Fictions: Intratextual audiences in two films by Francois Girard” in North of Everything: English Canadian Cinema, Bill Beard and Jerry White (Edmonton, Alberta: University of Alberta Press, 2002: 184-191.
”History Without Borders: Neil Jordan’s Michael Collins.” Contemporary Irish Cinema: From The Quiet Man to Dancing at Lughnasa James MacKillop (Syracuse: Syracuse University Press, 1999: 22-28.
”British Filmmaking in the 1930’s and 1940’s: The Example of Brian Desmond Hurst.” In Re-Viewing British Cinema 1900-1992: Essays and Interviews. Ed. Wheeler Winston Dixon (New York: State University of New York Press, 1994): 25-40.
Ruth Barton, Brian McIlroy, Barry Monahan, and Jerry White, “The Cinematic Informer” New Hibernia Review 24: 2 (Summer 2020): 37-70.
“`Doing everything possible to encourage a British sentiment’: The Rise of Film Censorship and Regulation of Picture Houses in British Columbia, 1910-1915.” BC Studies: The British Columbian Quarterly no 205 (Spring 2020): 79-101.
“Sidney Olcott and Irish Politics” New Hibernia Review 21: 4 (Winter 2017): 106-121.
“The Clash of Society and Community: The Irish Police on Screen,” Review of Irish Studies in Europe vol. 1, no. 1 (2016) : 83-92. http://www.imageandnarrative.be/index.php/rise/issue/current/showToc
“A Luminous Moment in Canadian Film Exhibition: The Blinding Light!! Cinema in Vancouver” Canadian Journal of Film Studies 23: 1 (Spring 2014): 128-132.
“A Swiftian Sunday” in Short Film Studies Vol. 1 no 2 (2011): 283-286.
“Theory, Science and Negotiation: John Banville’s Doctor Copernicus” Irish University Review 36: 1 (Spring/Summer 2006): 25-38.
“Hollywood East? A Cautionary Tale of Irish Film Distribution in North America” in The Canadian Journal of Irish Studies 29: 2 (2003): 46-52.
“A Film Apparatchik Speaks: An Interview with Rod Stoneman” in The Canadian Journal of Irish Studies 29: 2 (2003): 53-56
“Challenges and Problems in Contemporary Irish Film: The Protestants” Cineaste 24: 2-3 (1999): 56-60.
”When the Ulster Protestant and Unionist Looks: Spectatorship in (Northern) Irish Cinema.” Irish University Review 26:1 (Spring/Summer 1996): 143-154.
”Pattern in Chaos: John Banville’s Scientific Vision.” The Colby Quarterly 31:1 (March 1995): 74-80.
”Observing and Walking the Thinnest of Lines: Phenomenology, Documentary Film and Errol Morris.” Recherches semiotiques/Semiotic Inquiry 13:1-2 (1993): 285-300.
”Tackling Aloneness: Jack Clayton’s The Lonely Passion of Judith Hearne.” Literature/Film Quarterly 21:1 (1993): 33-38.
”Banville, Science and Ireland” Studies: An Irish Quarterly Review. 81:321 (1992): 81-88.
”Reconstructing Artistic and Scientific Paradigms: John Banville’s The Newton Letter.” Mosaic 25: 1 (1992): 121-133.
”British Filmmaking in the 1930s and 1940s: The Example of Brian Desmond Hurst.” Film Criticism 16:1-2 (1991-92): 67-84.
“Poetry Imagery as Political Fetishism: The Example of Michael Longley.” Canadian Journal of Irish Studies. 16: 1 (1990): 59-64
“Appreciation: Brian Desmond Hurst 1895-1986: Irish Filmmaker.” Eire-Ireland 24: 4 (1989/90): 106-113.
”Displacement in the Fiction of Brian Moore.” English Studies in Canada 25: 2 (1989): 214-34.
”Naming the Unnamable in Brian Moore’s I Am Mary Dunne.” Critique: studies in contemporary fiction 30:2 (1988/1989): 85-94.
“A Brian Moore Bibliography 1974-1987.” Irish University Review 18: 1 (1988): 106-33.
“An Interview with Playwright John Boyd.” Irish University Review 17: 2 (1987): 242-50.
Online data entries:
Project title: Screens in Vancouver: Cinema-going and the City in 1914
SSHRC Research Data and Context posted to UBC Circle Digital repository
Comparison of 1914 Film Listings in Newspapers in Three Cities: Vancouver, Toronto and Montreal: http://hdl.handle.net/2429/50321 (2014)
Film Listings By Cinema and Newspaper in Vancouver from January to December 1914: http://hdl.handle.net/2429/45280 (2013)
Comparison of 1914 Film Listings in Newspapers in Three Cities: Vancouver, Seattle, Winnipeg: http://hdl.handle.net/2429/45316 (2013)
Screens in Vancouver: Cinemagoing and the City in 1914 [Maps: 1906-1930]: http://hdl.handle.net/2429/45267 (2012)