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Files relating to film entitled "Brendan Behan's Dublin", screenplay by Carolyn Swift, produced and directed by Norman Cohan

File of correspondence with Carolyn Swift and others, including Norman Cohen, regarding the development, production, and distribution of film, "Brendan Behan's Dublin', screenplay by Swift and produced and directed by Cohen. The letters begin in 1964 between Bill Skinner (Muserights Lrd.), Cohen, and Swift, about early extracts and treatments, before continuing through the mid-1960s the production of the film and its screening at the Cork Film Festival in Sept 1966. Voice over work in the film was done by Ray McAnally.

File includes typed Project Treatment for a Motion Picture - Brendan Behan's Dublin", by Carolyn Swift (Muserights Ltd) with outline of theme, story, characters, and songs; a longer 'Projected Treatment" with more detail on the film; a typed Treatment with handwritten annotation and edits by Swift for the film, with list of scenes and shots/shooting locations etc.; second Film Treatment "Brendan Behan's Dublin" (Note: Norcon Productions noted on cover - Norman Cohen Films, London); Extract from script of "Brendan Behan's Dublin", screenplay by Carolyn Swift directed by Norman Cohen; copy of contract made between Carolyn C. Simpson (Carolyn Swift) and Norcon Film Productions Ltd. re. production rights of "Brendan Behan's Dublin".
Also includes printed flyer about the film when on release and programme from the Cork Film Festival, Sep 1966

Letters from 1999 between Carolyn Swift and TG4 station, RTÉ, and letters to the press (Irish Times) where Swift corrects errors in the production credits to the film, Brendan Behan's Dublin, when broadcast on television.

36 images on negative and contact sheets.

Photographs of children entitled “Collins kids”.

Photographs of a ruin of a house in Mayo.

Photographs taken ringside at a boxing match, entitled “Brendan Carroll’s film, National Stadium”.

Colour photograph of Brendan Hynes, Tony Reddin (hurler) and Joe Burke.

Correspondence with Brendan Kearney and Associates regarding documentation required for the report on the evaluation of the LEADER programme in Ireland. Includes information on the work the Community Development officers completed, the interim report and Muintir na Tíre’s response.

Black and white photograph of portal dolmen at Brennanstown, Co. Dublin. (With figure standing on top of dolmen).

File 1 includes manuscript research notes and index cards regarding the archaeology and history of Brian Boru. Also includes postcards of images, other contemporary ephemera with the name or image of Brian Boru, research material regarding a public lecture on Boru by Etienne Rynne. File 2 includes assorted published research articles, offprints etc. about Brian Boru. iIncludes a copy of North Munster Studies, edited by Etienne Rynne, "Essays in Commemoration of Monsignor Michael Moloney, Limerick, The Thomond Archaeological Society, 1967. Also a [1912/1914] edition of pamphlet "Brian Boru: A Sketch of His Life and Times" by E. Leahy, Dublin, Irish Messenger Office, series of "Epochs of Irish History".

Three piece of correspondence from Brian Friel to Tim Robinson (17 September 2010 to 18 September 2011). Friel greatly admires Tim's work, and the letters are complimentary, and tell a story of work he did with David Hammond to record traces of Northern Irish families who had emigrated to the US in the 20th century, and their fruitless efforts to catch up with Joe Heaney. He concludes by congratulating Tim on 'Connemara', "Congratulations again. A Big Book, a big accomplishment. The word that occurs to me is that I'm so grateful for it". The word "grateful" is underlined.

Folder 4
Copy of Swiz - a London newsletter from the 1960s written in science fiction style. It is home made, and interspersed with cuttings from other magazines. Each page has a small piece of paper interleaved that says "This, and other events occurring all over central London this afternoon, have been planned as peaceful demonstrations of concern over the Arts Council of Great Britain's neglect of the living arts. From a budget of £7m. only 1% is spent on the work artists are creating today".