Given the intensity of narrative contestation over the public history of and discourse around the modern period of Northern Irish civil conflict known locally as ‘the Troubles’, for filmmakers from outside of Northern Ireland to be seen as making a legitimate contribution to existing debates, there is a pressure for their film texts to be read as ‘authentic’. This desire for authenticity fundamentally shapes the narrative approach taken by these filmmakers. Various filmmaking strategies have been employed in the pursuit of authenticity, but both Jim Sheridan’s In the Name of the Father (1993) and Kari Skogland’s Fifty Dead Men Walking (2008) have taken a distinctly narrative approach, relying upon local written autobiographical material. However, the way in which Sheridan and Skogland have sought to deploy the authenticity embedded in locally grounded source material flirts with self-defeatism as both films problematically obscure the limitations on agency imposed by the filmmakers on the\udlocal voices upon who claims of authenticity, and thus the films’ legitimacy, depend.
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机译：鉴于围绕北爱尔兰内战的现代公共历史和话语的叙事性辩论的激烈程度，在当地被称为“麻烦”，对于北爱尔兰以外地区的电影摄制者应被视为对现有辩论做出了合理的贡献，他们的电影文字被视为“真实”的压力。对真实性的渴望从根本上塑造了这些电影摄制者所采用的叙事方式。为了追求真实性，已经采取了各种电影制作策略，但吉姆·谢里丹（Jim Sheridan）的《以父亲的名义》（1993）和卡里·斯科格兰（Kari Skogland）的《五十个人走》（Fifty Dead Men Walking）（2008）都采用了独特的叙事方法，这些方法都依赖于当地书面的自传材料。但是，谢里登（Sheridan）和斯科格兰（Skogland）试图通过自我挫败来部署嵌入在本地扎根的原始资料调情中的真实性，因为这两部电影都困扰着电影制片人对谁声称真实性的声音发出的代理制限制，因此电影的合法性取决于。
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