Chapter three focuses on Irish-American cultural consumption, with an emphasis on material culture, and discusses the ways in which these cultural objects transmit and influence concepts of diasporic identity. The author notes that post-World War II movies increasingly function as a source of identification for new generations of Irish-Americans with the “home” they have never known but, crucially, are increasingly likely to visit as tourists. This is an interesting chapter in which the author notes Ireland’s complicity in the image of Irishness being offered to Irish-Americans through the images and representations of Ireland being packaged and offered to them in promotional tourist texts. This focus on fulfilling the expectations of the Irish-American tourist market has a number of interesting consequences for the packaging of the “Ireland experience”. Because the heritage of Ireland promoted in these tourist films is predominantly Gaelic and Catholic, the representation of Dublin and other legacies of colonialism are problematic and often omitted. As well as the experience of visiting the heritage sites, another crucial element in the tourist experience is the purchasing of souvenirs and other Irish goods. This has led to the increasing consumption and commodification of the Irish experience through a range of fetishized objects (such as Connemara marble crosses), but also through a range of iconic food and drink products (Irish smoked salmon, Guinness) and luxury, high status goods (Irish linen, Waterford crystal). The ownership and display of such objects enables the Irish-American to signify or “perform” their ethnic identity on their return to the United States. This branding and marketing of Irishness as performance reaches its apotheosis with the globalization of Irish culture through the media of spectaculars such as Riverdance and the spread of Irish-themed pubs.