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Alannah Mc Quaid 

BA [Hons] Film + Television Production

Alannah is a producer from Dublin. Graduating from The National Film School as a production major and sound minor. She is experienced in producing short films, documentaries, and music videos. Additionally, she has contributed to funded projects by the Arts Council and has gained experience as a production trainee with various film companies. Alannah is driven by her passion for crafting visually captivating narratives that challenge conventional storytelling boundaries.

Sorry I Have To Kill You is a dark-comedy directed by Ethan Dodd and produced by Alannah McQuaid

After accidentally killing her Best Friend’s bully, Esme realises that most of her friend's problems can be solved with a simple murder

Skirmish is a western-inspired drama-comedy directed by Julia Wysocka, and produced by Alannah McQuaid

Annie is stuck at a dead-end job and mourning her relationship, until a local western themed night seems like the perfect opportunity to win back her ex-girlfriend

Baby Blues is a short documentary co-directed by Alannah McQuaid and Sophie Lynch

The birth of a baby can bring a variety of powerful emotions, from excitement and joy to fear and anxiety. But it can also result in something many women don’t expect - depression. This short documentary explores this subject matter as Elena Rafferty shares her traumatic experience of postnatal depression and coming out the other side.

The Documentary as been selected for DIFF, and DocsIreland. As well as winning Best Youth Documentary as 'Women's Voices Now.'



THESIS - The Cinematic Language Of Desire: A Semiotic Analysis of Gender Representation in Intimate Scenes

The Cinematic Language of Desire investigates the impact of the Hays Code on gender representation. While the Hays Code aimed to upload moral standards in cinema, its impact on gender representation was complex. Female characters were often subject to stricter censorship with their roles limited to those deemed acceptable by societal norms. Conversely male characters were afforded greater latitude, albeit within the framework of traditional masculinity. Within this Alannah explores theories by scholars such as Laura Mulvey and Steve Neale. Through this examination of landmark films and scholarly perspectives, the chapters shed light on the complex dynamics shaping the portrayal of gender in American film history.


Film + Television Production
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