A work in constant progress (and occasional regress).
Birthplace:
Dublin, Ireland
Born:
December 12, 1947
Joe Comerford was born in 1947 in Dublin, Ireland, graduating from the National College of Art and Design in the 1960s. In the 1970s, he began working for RTÉ, Ireland's national broadcaster, where he learned camera operating and general studio production. Two years later, he left RTÉ to make independent films. All his films share a general concern for those on the margins of what was an increasingly-affluent Irish society. His films of the 1970s and 1980s featured dysfunctional familial settings, as analogous to Ireland's political and religious conditions at the time. His early films have been described as challenging to watch, as they often do not follow a linear narrative, but move forward as a series of vignettes. Comerford has worked as an independent director in Ireland for over 50 years producing work that is distinguished by its cinematic subversion and social commentary, with a trademark twinning of film narrative and visual-aural abstraction. His films focus on socially-marginalised characters –destitute men, drug users, aimless youths, Travellers, prisoners and women in the midst of crisis pregnancies. His two cinema features Reefer and the Model (1988), a comedy-crime thriller and High Boot Benny (1993), a drama set against the backdrop of the Troubles, are both shot through with his distinctive political and social analysis. Alternating between feature films with a narrative bias, and shorts which tend towards abstract painted imagery, Comerford has declared that his longer-term objective is to tell a story by combining the two strands into a ‘painted feature’.
Camera Operator:
1984 Atlantean
Cinematography:
1971 Emtigon
1976 Self Portrait with Red Car
1984 Atlantean
Director:
1971 Emtigon
1973 Withdrawal
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Director of Photography:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Editor:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Executive Producer:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Producer:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Screenplay:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Writer:
1971 Emtigon
1973 Withdrawal
1975 Lament for Art Ó Laoghaire
1976 Self Portrait with Red Car
1977 Down the Corner
1981 Traveller
1984 Atlantean
1984 Waterbag
1988 Reefer and the Model
1993 High Boot Benny
2008 Roadside
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.