This drama implementation on TV has contributed to the widespread and popularity of such true-to-life documentaries appearance in cinema tends to prioritise the creative influence of the film's directors. [Pettitt, 2000]
Thus, making their films the tend to deal with the topics of abuse from the past; based on true stories they have their great emotional effect on the viewers, and uncover the real sense of the traditional social political and religious establishments which rules the life of people for a long time. That's why the real historical or fictional characters, or the images of the USA President appear to perceive the reality depicted in the film in a more deeper sense. Drama has also challenged viewers' minds by imagining events that could not be countenanced by factual television. Fictional representations, therefore, have played a major role in the maintenance and reshaping of perceptions about the Troubles and to this extent they have performed a political function. [Pettitt, 2000]
The reports stay that the number of screens in Ireland has increased by 68% from 192 screens to 322 screens (during the period of 1991-2001), but the number of cinemas in Ireland has reduced by 15% from 81 cinemas to 69 in the same period.
As for the contemporary Irish films, Pettitt who deals with the films after the 1970s, speaks about both the great thread posed by the influence of Hollywood - dubbed 'Californication' by Oliver St. John Gogarty three-quarters of the century ago - and the need for the resources that the American films companies can supply. [Pettitt, 2000] He also points out the fact that Irish cinema, for all its independence, hews fairly closely to the Hollywood formula followed everywhere from West Los Angeles to Bombay.
According to Pettitt (2000), drama since the late 1960s has explored some of the deepest fears of those embroiled in conflict, but has not only reflected the political shifts in Northern Ireland. The political, security and legal apparatus of the British establishment has been most effectively critiqued at different junctures in the drama-documentary format. There has been a line of drama that has interrogated the problematic relationship of unionism within Anglo-Irish politics and the increasingly attenuated sense of Ulster loyalism. Fictional representations, therefore, have played a major role in the maintenance and reshaping of perceptions about the Troubles and to this extent they have performed a political function. [Pettitt, 2000]
According to Crosson (2003), contemporary Irish film itself reflects the failure of Irish history to excite the imagination of Ireland's youth as effectively as the seductive depictions of America's past as medicated through the Western and gangster films. So that, films made in Ireland today reflect both these genres.
The Irish cinema-going experience has come from Hollywood since in independence in 1922. [Rockett, 1991; p.19] The Irish Film Board has attempted to counterpart Ireland's huge dependence on imported film by supporting films made in the country and by Irish people. However, Ireland remains a substantial net importer of images, many of them