This week 1925, Dublin's La Scala put the film Wicklow Gold (Irish Photoplays, 1922) at the centre of its All-Irish Week, claiming the film was showing for the first time, but it had had its first run at Dublin's Empire in November 1922. Images: Evening Herald & Sunday Independent. #EarlyIrishCinema

This week 1925, letter writer Civis noted in the Kerry News that proposed Irish press censorship was unlikely to be effective given the way film censorship had failed in the case of Lovebound (US: Fox, 1923), recently shown in Tralee. Images: Kerry News & IMDb. #EarlyIrishCinema

Today at @tlrhub.bsky.social some of the great scholars of film in Ireland celebrate the career of Ruth Barton and her profound influence on Irish film studies. 1st up @deniscondon.bsky.social on cinema exhibition in turn of the century munitions factory in Arklow.

On 7 December 1925, Omagh's cinemagoers could choose from For Sale (US: Associated National Pictures, 1924) at the Picture House and Pampered Youth (US: Vitagraph, 1925), an adaptation of The Magnificent Ambersons, at the Star Kinema. Images: Ulster Herald & IMDb. #EarlyIrishCinema

This weekend 1925, the Voice of Labour reported on the picket that took place on the charity Cinema Bal-Masque at Dublin's Metropole on 27 November in protest at the holding of an event at a venue where a strike had been ongoing for five months. #EarlyIrishCinema

On 30 November 1925, the Cinema, Kells was showing He Who Gets Slapped (US: MGM, 1924), starring Lon Chaney, "a story for the millions, told in gripping pictures - conceived by love and beauty and human kindness." Images: Meath Chronicle and IMDb. #EarlyIrishCinema

Webinar, 1 [email protected] (CET): "Researching South American cinemas: national contexts and global connections", with Maria Paz Peirano and Alejandro Kelly. Discussant Paolo Noto. Organised by AIRSC (Italian Association for Research on Film History). Link: us02web.zoom.us/j/8694741655...

On 27 November 1925, Larne's Electric Theatre offered The Drums of Jeopardy (US: Hoffman, 1923), starring Elaine Hammerstein, in "the strange romance of two men and a girl." Images: Larne Times and IMDb. #EarlyIrishCinema

At the beginning of this week 1925, the Evening Herald published a photo of Rudolph Valentino arriving at Southampton at the start of a tour of Europe. #EarlyIirishCinema

On 23 November 1925, Belfast's Picturedrome the Mount offered The Breath of Scandal (US: Schulberg, 1924), "a new kind of problem play, in which a pretty girl has to face scandal through the foolishness of her father." Images: Ireland's Saturday Night & IMDb. #EarlyIrishCinema

On 21 November 1925, Limerick's Grand Central Cinema had its last screenings of I Am the Man (US: Chadwick, 1924), "an intensely gripping drama of American life," starring Lionel Barrymore and Seena Owen. Images: Munster News and Exhibitor's Trade Review. #EarlyIrishCinema

On 20 November 1925, Dublin's Masterpiece was bombed during the run of Ypres (UK: British Instructional Films, 1925), the first copy of which had been stolen from the cinema by armed raiders the previous week. Images: Evening Herald. #EarlyIrishCinema

Call for Papers HoMER 2026: Cinema Communities and Community Cinemas University of Exeter, UK | 8–10 July 2026 Pre-conference: 7 July 2026 Submission form: docs.google.com/forms/d/e/1F... Deadline: 19 January 2026. Further information: Dr Matthew Rule-Jones — [email protected]

17 Nov 1925: Dublin Metropole had The Phantom of the Opera (US: Universal, 1925), "unquestionably the most amazing film that has been produced up to the present time. It is an astounding spectacular achievement and a masterpiece of characterisation." Images: Evening Herald & IMDb. #EarlyIrishCinema

On 16 November 1925, Drogheda's Boyne Cinema offered The White Sister (US: Inspiration, 1923), with Lillian Gish, whose "restrained conception of the difficult role of Sister Angela stands at the top of her many famous characterisations." Images: Drogheda Independent & Wikipedia. #EarlyIrishCinema

On 15 November 1925, Dublin's Corinthian began a run of College Days (AKA The Freshman; US: Lloyd, 1925), starring Harold Lloyd in "a clean, wholesome picture that will make you laugh all the time." Images: Evening Herald and IMDb. #EarlyIrishCinema

#OTD 1925, Dublin's La Scala offered its last screenings of the Irish Pilgrimage film and the Grafton its last of Confessions of a Queen (US: Metro-Goldwyn, 1925), directed by Victor Sjöström, and starring Alice Terry. Images: Evening Herald and IMDb. #EarlyIrishCinema

On 13 November 1925, the 900-seat Rinn cinema opened in Fitzwilliam Street, Ringsend, Dublin, with a bill headed by That Devil Quemado (US: Robertson-Cole, 1925) and live singng and comedy. Images: Irish Times, Evening Herald & IMDb. #EarlyIrishCinema

This week 1925, armed raiders stole the copy of Ypres (UK: British Instructional Films) due for a run at Dublin's Masterpiece. The management acquired a new print from Thursday, and "thousands flocked around this popular picture house." Images: Evening Herald. #EarlyIrishCinema

On 10 November 1925, Kells's Cinema offered "the most ambitious screen programme ever shown locally," beginning with America (US: Griffith, 1924), followed by The Moon of Israel (Austria/UK: Sascha, 1924) later in the week. Images: Meath Chronicle and IMDb. #EarlyIrishCinema

El Putnam talks to Joanna Walsh about her book Amateurs: How We Built lnternet Culture and Why It Matters as part of a seminar on Digital Intersections: Exploring Art, Language and Resistance @maynoothuniversity.ie

On 3 November 1925, Dublin's Corinthian was showing The Unholy Three (US: MGM, 1925) directed by Tod Browning and starring Lon Chaney, Victor McLaglen and Mae Busch, "an eerie crook subject, its weightiness being augmented by the magnificent acting." Images: Evening Herald & IMDb #EarlyIrishCinema

At the start of November 1925, Irish newspapers reported on the deaths in Paris by suicide or possible murder-suicide of French film comedian Max Linder and his wife Hélène Peters. Images: Sunday Independent, Cork Examiner and Wikipedia. #EarlyIrishCinema

On 1 November 1925, Roscommon's Provincial Electric Cinema Co. offered The Cowboy and the Lady (US: Paramount, 1922): "more unfortunate than a spinster who cannot get a good husband is a wife who cannot get rid of a bad one." Images: Roscommon Messenger & IMDb. #EarlyIrishCinema

On 31 October 1925, the Irish Independent reported that Dublin's La Scala had been cautioned and fined for showing a copy of Reveille (UK: Welsh-Pearson, 1924) that included material that had been cut by the Irish film censor. Images: Independent and Bioscope. #EarlyIrishCinema

#OTD 1925, Dublin's Grand Central advertised its run of Tom Mix's The Deadwood Coach (US: Fox, 1924) by parking a stagecoach in front of the cinema in O'Connell Street, which was still advertising A Woman of Paris (US: Chaplin, 1923). Images: Evening Herald & IMDb. #EarlyIrishCinema

This week 1925, Irish newspapers reported on the filming of a reenactment of the burning of Dublin's Custom House in May 1921 as part of the production of Irish Destiny (Ireland: Eppels, 1926). Images: Wikipedia, Irish Independent and Kerry Reporter. #EarlyIrishCinema

Sarah Arnold delivers a talk on "Irish-Language Broadcasting: Gender, Language and Region" to kick off Maynooth University's Media Studies Research seminar.

"What is the Price of a Cinema Seat?" an ad for Velocium tonic asked in the Irish Independent #OTD 1925. "After sitting for hours in a Picture House in used-up air, often hot and thick and germ-infested, is it any wonder the night-wind catches you off guard?" #EarlyIrishCinema

On 15 October 1925, Dublin's Metropole was showing the early dinosaur special effect epic The Lost World (US: First National, 1925), which "takes us back to the world that existed long before man inhabited it." Images: Evening Herald & Wikipedia. #EarlyIrishCinema

Stills from two new Irish films featured in the Evening Herald this week 1925: the surviving Irish Destiny and the lost Land of Her Fathers (Transatlantic, 1925), starring Phyllis O'Hara Micheál MacLiammóir and the Abbey Players. Images: Herald and IMDb. #EarlyIrishCinema

#OTD 1925, the Evening Herald published a still from A Woman of Paris (US: Chaplin, 1923), starring Edna Purviance and directed by Charlie Chaplin but not featuring him, in advance of its run at Dublin's Grand Central the following week. Images: Herald & IMDb. #EarlyIrishCinema

On 1 October 1925, Dublin's Masterpiece, Talbot Street, was showing The Siren of Seville (US: Stromberg, 1924), starring Priscilla Dean, "the empress of elemental emotions," and accompanied by special music arranged by the orchestra. Images: Evening Herald & IMDb. #EarlyIrishCinema

🇵🇸 That's solidarity! 175 great civil society groups have endorsed our National Demonstration for Palestine Saturday. See you at the Garden of Remembrance at 12.30pm, all out for Palestine! #FreePalestine #GazaGenocide 🇵🇸

The Sea Hawk (US: Lloyd, 1924) was swashing the buckles of audiences at Powell's Cinema, Roscrea #OTD 1925. Images: Midland Tribune and IMDb. #EarlyIrishCinema

This week 1925, the Irish Free State Prison Board identified "an entirely new class of criminal, composed of half-educated youths, who... have grown up in lawless habits, and the streets and the cinema have been the main sources of their moral education." Image: Irish News. #EarlyIrishCinema

#OTD 1925, Dublin's Corinthian offered The Epic of Everest (UK: Dafu, 1924), with cinematographer J.B. Noel in attendance, accompanied by seven lamas: "this is the first time in the history of the world that a Lama has set foot in a European country." Images: Evening Herald & IMDb. #EarlyIrishCinema

"'The Last Laugh' is one of the few artistic successes the cinematograph has produced," Dublin's Evening Herald opined this week 1925. In it, Emil Jannings "proves himself one of the best, if not the best, actors the screen possesses." Images: Herald and IMDb. #EarlyIrishCinema

#OTD 1925, Dublin's Grand Central offered A Woman's Faith (US: Universal, 1925), the Metropole hosted The Man Who Fights Alone (US: Paramount, 1924) and the Corinthian had Without Warning (AKA The Story Without a Name; US: Paramount, 1924). Images: Evening Herald & IMDb. #EarlyIrishCinema

Dear HoMERites, The dates of the 2026 HoMER conference at the University of Exeter, UK. We will have a pre-conference day on 7th July, with the main conference commencing on 8th and ending on 10th July. CFP to follow. Best wishes, Matthew Rule-Jones and Talitha Ferraz (HoMER coordinators).

This week 1925, Dublin's Sandford Cinema in Ranelagh was fined £600, "a heavy and perhaps a crushing burden," for not tearing revenue stamps on its tickets in half. Images: Evening Herald and Cork Examiner. #EarlyIrishCinema

This week 1925, the Waterford News and Star reported that a live variety act at the Coliseum cinema in which a woman was being sawn in half ended in chaos when a helper from the crowd tied a knot that almost strangled the woman in the box. #EarlyIrishCinema

On 27 August 1925,Dublin's Grafton was showing He Who Gets Slapped (US: MGM, 1924), starring Lon Chaney, who "runs away with the acting honours...His portrayal is nothing short of marvellous - it is one that comes from the soul." Images: Evening Herald & IMDb. #EarlyIrishCinema

"Miss Brennan, Inchicore, and Miss Gogan, who were selected for parts in the new Irish film, 'Irish Destiny,' which is about to be produced in Dublin. Both ladies were the runners-up in the film face competition at the Cinema Garden Party on Saturday last." Evening Herald #OTD 1925 #EarlyIrishCinema

Preview of the excellent Christy with Q&A with director Brendan Canty and cast.

#OTD 1925, Belfast's Classic - "the cinema ahead in the city ahead" - offered a crowded bill featuring The Turmoil (US: Universal, 1924), Hit and Run (US: Universal,1924) and Hooked (US: Hamilton, 1925). Images: Irish News, Wikipedia & IMDb. #EarlyIrishCinema

"Here in Cork," Patrick McNally wrote to the Irish Independent #OTD 1925, "one very rarely hears an Irish piece [of music] played in Cinema or Restaurant." #EarlyIrishCinema

"The average actor's work was so arduous," the Irish Independent reported #OTD 1925 Irish-American star and president of the Catholic Movie Guild of America Tommy Meighan as saying "that he could not undergo the additional strain of the orgies one read about." #EarlyIrishCinema

The early Irish Free State period is not noted for film production, but in August 1925, filmmakers from Fox were shooting tourist sites for the Irish Tourist Association, and the production of Irish Luck (US: Paramount, 1925) drew crowds of curious Dubliners. #EarlyIrishCinema

#OTD 1925, Dublin's Corinthian had Manhandled (US: Paramount, 1924),with Gloria Swanson. "The star is much better ... in the opening stages..., for the story is disconnected a good deal towards the end, due, no doubt, to many deleted scenes." Images: Evening Herald & IMDb. #EarlyIrishCinema