Abstract
The article discusses the narratives and production/reception contexts of the Irish-themed historical romantic melodramas The Key (Michael Curtiz, 1934), The Plough and the Stars (John Ford, 1936), Beloved Enemy (H.C. Potter, 1936) and Parnell (John M. Stahl, 1937), as well as the drama The Informer (John Ford, 1935), with relation to the representation of Ireland in mainstream cinema from the 1910s and 1920s, and Irish-American views on the Irish War of Independence, the Irish Civil War, the socio-political evolution of the Irish Free State, the spread of WASP nativism in the US and the Great Depression.
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