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Description
Scotland, its people and its history have long been a source of considerable fascination and inspiration for filmmakers, film scholars and film audiences worldwide. A significant number of critically acclaimed films made in the last twenty-five years have ignited passionate conversations and debates about Scottish national cinema. Its historical, industrial and cultural complexities and contradictions have made it all the more a focus of attention and interest for both popular audiences and scholarly critics.
Directory of World Cinema: Scotland provides an introduction to many of Scottish cinema’s most important and influential themes and issues, films and filmmakers, while adding to the ongoing discussion concerning how to make sense of Scotland’s cinematic traditions and contributions. Chapters on filmmakers range from Murray Grigor to Ken Loach, and Gaelic filmmaking, radical and engaged cinema, production, finance and documentary are just a few of the topics explored. Film reviews range from popular box office hits such as Braveheart, and Trainspotting to lesser known but equally engaging independent and lower budget productions, such as Shell and Orphans. This book is both a stimulating and accessible resource for a wide range of readers interested in Scottish film.
Introduction by the Editors
Industry Spotlight
Production
Marketing Mix
Finance
Location
Gaelic Film-making In Scotland
Cultural Crossover
Radical and Engaged Cinema
Directors
Bill Douglas
Bill Forsyth
Murray Grigor
Ken Loach
David Mackenzie
Peter Mullan
Lynne Ramsay
Margaret Tait
Mythic Visions: Critique and Counter-Critique
From Social Realism To Social Art Cinema and Beyond
Comedy, Fantasy and Horror
Documentary
Sujets
Informations
| Publié par | Intellect Books |
| Date de parution | 29 mai 2015 |
| Nombre de lectures | 0 |
| EAN13 | 9781783203956 |
| Langue | English |
| Poids de l'ouvrage | 10 Mo |
Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
Extrait
ND
DIRECTORY OF WORLDCINEMA
EDITED BY BOB NOWLAN & ZACH FINCH SCOTLA
Volume 27
dIrectory of world cInema Scotland
Edîted by Bob Nowan and Zach Fînch
intellect Bristol, UK / Chicago, USA
Fîrst pubîshed în the UK în 2015 by Inteect Books, The Mî, Parna Road, Fîshponds, Brîsto, BS16 3JG, UK
Fîrst pubîshed în the USA în 2015 by Inteect Books, The Unîversîty of Chîcago Press, 1427 E. 60th Street, Chîcago, IL 60637, USA
Copyrîght © 2015 Inteect Ltd
A rîghts reserved. No part of thîs pubîcatîon may be reproduced, stored în a retrîeva system, or transmîtted, în any form or by any means, eectronîc, mechanîca, photocopyîng, recordîng, or otherwîse, wîthout wrîtten permîssîon.
A cataogue record for thîs book îs avaîabe from the Brîtîsh Lîbrary.
Pubîsher: May Yao Pubîshîng Managers: Jeena Stanovnîk and Heather Gîbson
Cover photograph:Traînspottîng, courtesy of the Brîtîsh Fîm Instîtute. Cover desîgner: Hoy Rose Copy-edîtor: Emma Rhys Typesetter: John Teehan
Dîrectory of Word Cînema ISSN 2040-7971 Dîrectory of Word Cînema eISSN 2040-798X
Dîrectory of Word Cînema: Scotand ISBN 978-1-78320-394-9 Dîrectory of Word Cînema: Scotand eISBN 978-1-78320-395-6
Prînted and bound by Short Run Press, UK.
contentS
5
Scotland
322
SCOTTîsh cîNEMà oNLîNE 354 tEsT yOUR KNOWLEDgE 360 nOTEs oN cONTRîbUTORs 363 fîLMOgRàphY 368 contentS
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fROM SOCîàL rEàLîsM tO SOCîàL aRT cîNEMà àND BEYOND 180 Essay Revîews
dOCUMENTàRY Essay Revîews
cOMEDY, fàNTàsY àND HORROR Essay Revîews
rECOMMENDED rEàDîNg
346
90
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dIrectory of world cInema
INDUsTRY SpOTLîghT Production
màRkETîNg mîx Fînance
aCkNOWLEDgEMENTs
lOCàTîON Gaeîc Fîm-makîng In Scotand
INTRODUCTîON bY ThE eDîTORs
dîRECTORs Bî DougasBî ForsythMurray Grîgor Ken Loach Davîd Mackenzîe Peter Muan Lynne Ramsay Margaret Taît
cULTURàL cROssOvER Radîca and Engaged Cînema
mYThîC VîsîONs: cRîTîqUE àND cOUNTER-cRîTîqUE Essay Revîews
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19
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Dîrectory of Word Cînema
acKnowledGementS
Dîrectory of Word Cînema
We thank a of our feow contrîbutors for theîr dedîcatîon, patîence and însîght. We thank Stephanîe Turner for aertîng us to the opportunîty to propose edîtîng and wrîtîng thîs book, as we as for brîngîng us to the attentîon of Inteect. At Inteect, we thank Amy Damutz, May Yao, Meanîe Marsha, Jeena Stanovnîk and Heather Gîbson for theîr îndîspensabe support and assîstance în makîng thîs book possîbe. We thank Janet McBaîn, retîred curator wîth the Scottîsh Screen Archîve, for her eary encouragement and hep în înîtîay contactîng potentîa contrîbutors. We thank Tony Dykes of the Brîtîsh Fîm Instîtute and Jennîfer Armîtage of Creatîve Scotand for theîr hep în provîdîng us îmages. And, for paînstakîng assîstance în formattîng and typescrîpt preparatîon, we thank Aex Long and Davîd Hammersborg. We aso thank Emma Rhys for her metîcuous and thorough work în copy-edîtîng. Bob thanks the staff of the Scottîsh Screen Archîve for theîr generosîty durîng hîs vîsît to screen and take notes on ims durîng Juy 2012. He aso acknowedges the învauabe assîstance provîded by the Unîversîty of Wîsconsîn-Eau Caîre irst through a unîversîty research and creatîve actîvîty grant în the sprîng semester of 2013 and second by way of sabbatîca throughout the 2013–14 academîc year. Bob thanks hîs coeagues în the Engîsh Department at the Unîversîty of Wîsconsîn-Eau Caîre for theîr înterest and support, as we as the students în hîs Fa 2010 and Fa 2012 Scottîsh Cînema casses, and în hîs Sprîng 2011 Scottîsh Crîme Fîctîon cass, for the same. He thanks, în addîtîon, a the îndîe rock, pop, fok, fok rock and foktronîca musîcîans from Scotand he has featured on hîs weeky radîo show,Insurgence, for many years, and who contînuay reînforce hîs strongy fet sense of connectîon wîth Scotand. And, above a ese, he thanks hîs co-edîtor Zach Fînch, and hîs partner and husband Andy Swanson, both of whom have gîven far more than can possîby be recounted în thîs short space to make thîs book a reaîty. Zach thanks hîs co-edîtor, Bob Nowan, for hîs patîence, guîdance, frîendshîp and much more; hîs partner and wîfe, Dana Bertesen, for her steadfast support; hîs parents, Don and Connîe Fînch; Wîîam H Phîîps; the Unîversîty of Wîsconsîn-Eau Caîre Engîsh Facuty; the North Caroîna State Unîversîty Fîm Studîes Facuty; and the Unîversîty of Wîsconsîn-Mîwaukee Engîsh and Fîm Studîes Facuty for everythîng they have done to hep hîm în hîs work on thîs book.
Acknowedgements5 acKnowledGementS
Dîrectory of Word Cînema
IntroductIon By tHe edItorS
6Scotand
Scotand îs a sma natîon, and, as of the present wrîtîng, yet stî part of the Unîted Kîngdom of Great Brîtaîn and Northern Ireand, where Scotand îs a natîon wîthîn a kîngdom comprîsed of the four natîons of Engand, Scotand, Waes and Northern Ireand. Wîthîn the Unîted Kîngdom as a whoe, approxîmatey 83.5 per cent of the popuatîon îves în Engand, approxîmatey 8.5 per cent îves în Scotand, approxîmatey 5 per cent îves în Waes and approxîmatey 3 per cent îves în Northern Ireand. Even so, Scotand comprîses approxîmatey one-thîrd of the physîca terrîtory comprîsîng the Unîted Kîngdom, whîe Engand comprîses a îtte over one-haf. Nevertheess, Engand has ong occupîed a mutîpy prîvîeged posîtîon wîthîn the Unîted Kîngdom as a whoe, eadîng many foreîgners, especîay în the Unîted States, often enough to use ‘Engand’, ‘Brîtaîn’ and ‘the Unîted Kîngdom’ înterchangeaby, and even to refer to Scots as Engîsh – much to the justîied annoyance of Scots themseves. Scots have exerted an enormous împact on word hîstory (wîth Scots’ contrîbutîons as scîentîic înventors and to the phîosophîca egacy of the European Enîghtenment servîng as merey two of the most famous exampes of thîs împact). In addîtîon, Scotand and Scottîshness have ong exercîsed a consîderabe goba fascînatîon and appea (Scotand contînues to attract a sîgnîicanty hîgher eve of tourîsm, gîven îts share of the popuatîon, than the rest of the Unîted Kîngdom, whîe servîng as a seemîngy endessy protean stîmuus for romance and myth). What’s more, even over the course of the now over 300-pus years sînce the Act of Unîon în 1707 that effectîvey eîmînated Scotand as an îndependenty sovereîgn natîon-state, Scotand has retaîned a hîghy dîstînct natîona cuture as we as many hîghy dîstînct – and hîghy înluentîa – socîa înstîtutîons (încudîng în areas, for exampe, of aw, educatîon, reîgîon and the provîsîon of socîa wefare). ‘Scots’ îs îtsef today wîdey recognîzed by many înguîstîcs schoars as a fu-ledged anguage în îts own rîght, not sîmpy a dîaect of Engîsh, whîe Scottîsh Engîsh îs fu of words and phrases, as we as marked by accents and pronuncîatîons, that dîverge consîderaby from what îs commonpace în much of Engand. At the same tîme, as surveys of pubîc opînîon în recent decades repeatedy attest, Scots today îdentîfy as Scottîsh în much hîgher proportîons than they do as Brîtîsh. In addîtîon, sînce 1999, wîth the re-estabîshment of the Scottîsh parîament and the devoutîon of sîgnîicant sef-governîng authorîty – and natîona autonomy – to a Scottîsh government eected by the Scottîsh peope, Scottîsh dîstînctîveness îs now routîney manîfest and wîdey acknowedged, even by staunch Unîonîsts (î.e. by those who oppose fu Scottîsh îndependence, and who înstead support the contînuatîon of Scotand wîthîn the Unîted Kîngdom, and the contînued utîmate subordînatîon of the Scottîsh government în Edînburgh to the Unîted Kîngdom government în Westmînster).
Dîrectory of Word Cînema
One strîkîng recent îustratîon of Scotand’s dîstînctîveness showed up în the resuts of the May 2010 UK parîament eectîon, where the Labour Party comfortaby won the argest number of votes across Scotand, whîe the Conservatîve Party comfortaby won the argest number of votes across much of Engand. Post-eectîon-resuts maps of the Unîted Kîngdom often depîcted Scotand as overwhemîngy red, for Labour, and Engand as overwhemîngy bue, for Conservatîve. Indeed, Scotand has maîntaîned – post-Thatcher, post-New Labour, and throughout the ate twentîeth century and eary twenty-irst century epoch of neo-îbera economîc orthodoxy broady unîtîng the poîtîcay centre-eft wîth the poîtîcay centre-rîght – sîgnîicanty stronger support for a contînuîng socîa democratîc form of wefare state capîtaîst socîety (as we as for a cuture that prîvîeges communa socîa bonds and the vîrtues of cass-based coectîve soîdarîty over îndîvîduaîsm and prîvatîzatîon) than în much of Engand (even though, as many on the broad eft have extensîvey argued and thoroughy documented, Scotand remaîns, în practîce, far from a substantîay egaîtarîan socîety). Another, more recent, îustratîon of the sharp poîtîca dîfference between Scotand and Engand occurred în the May 2011 Scottîsh parîamentary eectîon, where the Scottîsh Natîona Party, whîch ony operates în Scotand, won a majorîty of seats în the Scottîsh parîament to contînue another four years în charge of the Scottîsh government. Thîs eectîon resut îs a the more remarkabe because the system of eectîon to the Scottîsh parîament îs deîberatey desîgned to make ît much more dîficut than în the case of the UK parîament for a sînge party to wîn an outrîght majorîty. Fînay, and potentîay far more sîgnîicant than eîther of the two precedîng exampes, a natîonwîde referendum on Scottîsh îndependence îs due to take pace în September of 2014. Even îf thîs referendum faîs to wîn a majorîty, Scots today overwhemîngy support devoutîon of yet further governmenta powers to the Scottîsh parîament from the UK Parîament such that, whatever the resut of the vote come September of 2014, Scotand îs amost certaîn to become steadîy more dîstînct wîthîn, and steadîy more autonomous versus, the rest of the Unîted Kîngdom. In addîtîon, as many schoars have compeîngy argued, Scotand has achîeved an extent of cutura devoutîon over the course of the past thîrty years that has, îf anythîng, exceeded that of poîtîca devoutîon. Yet what ît means to be Scottîsh, and what îs conceîved to be dîstînctîve about Scotand and Scottîshness – past and present – contînue to functîon as sîtes of întense contestatîon, especîay among Scots themseves. Scotand, în fact, encompasses ‘many Scotands’ wîth theîr own consîderaby dîstînct characterîstîcs în turn – and these ‘Scotands’ can be dîstînguîshed aong înes of regîon, ocae, cass, ethnîcîty, gender, sexuaîty, generatîon, subcutura afiîatîon, poîtîca îdentîicatîon, anguage, reîgîon, and yet many more înes of demarcatîon. At the same tîme, the hîstory of modern Scotand has been obsessed wîthîmagînedScotands andîmagînedScottîshnesses, as we as wîthmythsof Scotand, andmythsof Scottîshness. These are neîther sîmpe fasehoods, nor îusîons (et aone deusîons), not by any means. These are, înstead, ways peope have represented to themseves and to others what they conceîve Scotand and Scottîshness to be – and to mean. These representatîons încude îmages peope conjure up în thînkîng, takîng and wrîtîng of Scotand and Scottîshness, as we as storîes peope te about how they conceîve of Scotand and Scottîshness. And these îmages and storîes în turn exert îmmense împact – and exercîse îmmense power. Imagînatîons of Scotand and Scottîshness exercîse enormous, rea effects, over what peope thînk, fee, beîeve and do în ‘rea îfe’. The same îs true of myths –these are myths peope îve by, and whîch they contînuay turn to and draw upon în seekîng to make sense of theîr own experîence, and that of others both (seemîngy) sîmîar to and dîfferent from themseves, both (seemîngy) cose to and dîstant from themseves, and both (seemîngy) reated to and unreated to themseves.
Introductîon7
Dîrectory of Word Cînema
Scottîsh cînema (aong wîth Scottîsh îterature and other înluentîa kînds of artîstîc, medîa and cutura productîon) represents a pre-emînent sîte through whîch the dîssemînatîon of dîverse, contestîng îmagînatîons – and myths – of Scotand and of Scottîshness takes pace. Yet the questîon of what constîtutes ‘Scottîsh cînema’ îs compîcated. Operatîng out of a sma natîon, Scots have ong strugged to ind adequate means to produce, dîstrîbute and exhîbît ims. They have îkewîse often strugged to secure adequate traînîng, as we as adequate means of sustaînîng a îveîhood through im-makîng such that they coud concentrate consîderabe tîme and energy to im-makîng. At the same tîme, Scottîsh im-makers have had to dea not ony wîth the goba hegemony of Hoywood, but aso the consîderabe weîght of contînenta European natîona cînemas, and the prîorîtîzatîon of the înterests of Engîsh im-makîng (and of Engîsh im-makers) wîthîn Brîtîsh natîona cînema. Nevertheess, Scots have often demonstrated consîderabe îngenuîty în indîng ways to make many împressîve ims, încudîng ims wîth dîstînctîvey Scottîsh accents, emphases, styes and lavours. Throughout the hîstory of im-makîng în Scotand, government support – on the Unîted Kîngdom eve, on the Scottîsh natîona eve and on regîona and oca eves wîthîn Scotand – has often proven vîta în enabîng Scottîsh ims to be produced, dîstrîbuted and exhîbîted. However, the forms by whîch thîs support has been made avaîabe, as we as the structures under whîch and the strîctures accordîng to whîch ît has been aocated have repeatedy shîfted, often consîderaby, as have the amounts avaîabe for the kînds of im-makîng projects Scottîsh im-makers have been most înterested în pursuîng. The 1990s, and especîay the atter haf of that decade, represented a breakthrough perîod for Scottîsh cînema, whîch some even dubbed a ‘renaîssance’, but Scottîsh im-makers today maîntaîn consîderabe uncertaînty, as we as anxîety, about what the future of government support wî be îke. Fîm-makers worry about actua and potentîa reductîons în state support for art and cuture as we as about ack of support for ims of artîstîc and cutura merît that are at the same tîme unîkey to generate substantîa commercîa revenue, especîay ims that are crîtîca, questîonîng, provocatîve and transgressîve. Yet Scottîsh im-makers have ong made ims dependent upon the support of, and învovement from, many peope outsîde of Scotand, not reyîng soey on Brîtîsh or Scottîsh government support, and Scottîsh im-makers wî îkey do so far înto the foreseeabe future. What’s more, many ims focused on Scottîsh characters and Scottîsh storîes have been made and contînue to be made în Scotand by peope who are not Scottîsh cîtîzens, and many ims whose storîes are set în Scotand, and whîch feature Scottîsh characters, are – and ong have been – imed outsîde of Scotand. Work în Scottîsh cînema studîes today encompasses the crîtîca examînatîon of a broad range of ims, încudîng ims (past and present) that are not made by Scots, and not made în Scotand, but that nevertheess reate storîes set în Scotand and feature Scottîsh characters. In thîs context, ‘Scottîsh cînema’ thereby încudes mutîpy dîverse and contestîng ways im-makers and im audîences îmagîne Scotand, and îmagîne Scottîshness. Thîs means, în turn, that ‘Scottîsh cînema’ încudes mutîpy dîverse and contestîng myths of Scotand and Scottîshness that dîsparate im-makers – and im audîences – ind compeîng and appeaîng. The îndependence debate provîdes an excîtîng opportunîty for Scots to re-îmagîne, and prospectîvey re-învent, what Scotand îs to mean and to be, încudîng by takîng înto account vîsîons of a future Scotand that move în far more radîcay înnovatîve and transformatîve dîrectîons than those promoted wîthîn ‘oficîa’ narratîves propounded by representatîves of the socîa and poîtîca estabîshment. Scottîsh ims and im-makers, as we as schoary înterpretatîon and dîscussîon of Scottîsh ims and im-makers, coectîvey maîntaîn the potentîa to contrîbute powerfuy toward re-îmagînîng and re-înventîng what Scotand îs and wî be about, încudîng how Scotand conceîves and represents îtsef, at a tîme în whîch such work of natîona re-îmagînatîon and re-înventîon has become îmmedîatey reevant, and even urgent, throughout Scotand.
8Scotand
Dîrectory of Word Cînema
As Fîrst Mînîster Aex Samond wrîtes în the ‘Preface’ toScotand’s Future: Your Guîde to an Independent Scotand, the ate-2013 book-ength pubîcatîon of the Scottîsh government’s ‘whîte paper’ on Scottîsh îndependence,
Scotand îs an ancîent natîon, renowned for the îngenuîty and creatîvîty of our peope, the breathtakîng beauty of our and and the brîîance of our schoars. Our natîona story has been shaped down the generatîons by vaues of compassîon, equaîty, an unrîvaed commîtment to the empowerment of educatîon, and passîon and curîosîty for înventîon that has heped to shape the word around us. Scots have been at the forefront of the great mora, poîtîca and economîc debates of our tîmes as humanîty has searched for progress în the modern age. It îs în that spîrît of progress that you wî be asked on 18 September 2014, ‘Shoud Scotand be an îndependent country’? The answer to that questîon wî determîne how we can shape our natîon for the future. The year ahead shoud be a natîona ceebratîon of who we are and what we coud be. The debate we are engaged în as a natîon îs about the future of a of us ucky enough to îve în thîs dîverse and vîbrant country. It îs a rare and precîous moment în the hîstory of Scotand – a once în a generatîon opportunîty to chart a better way. (The Scottîsh Government 2013: vîîî)
Athough Samond and the Scottîsh Natîona Party-ed Scottîsh government irmy support îndependence, the energy currenty focused upon crîtîcay înquîrîng înto Scotand’s past and present în the înterest of creatîvey re-îmagînîng and re-înventîng Scotand’s future wî contînue regardess of how thîs referendum vote turns out. What îs more, Scotand’s Futureargues în support of încreasîng productîon of broadcastîng content în Scotand, as we as în deveopîng more dîstîncty Scottîsh avenues for dîssemînatîng thîs content, and, even more împortanty, decares that ‘dîstînct from Westmînster’ the Scottîsh government recognîzes ‘the întrînsîc vaue of cuture and herîtage, and do not vaue them for theîr economîc beneit, substantîa though that îs’ and that cuture and herîtage are ‘fundamenta to our webeîng and quaîty of îfe’ (19). Whîe the Scottîsh government îkewîse ‘does not measure the worth of cuture and herîtage soey în [terms of] money – we vaue cuture and herîtage precîsey because they embody our heart and sou, and our essence’ (309) and the Scottîsh government knows ‘that pubîc fundîng of the arts îs a fundamenta good’ (313). Certaîny, many Scottîsh wrîters and artîsts are understandaby sceptîca of what these sentîments are îkey to resut în, în practîce, notîng that, asScotand’s Futureaso îndîcates, ‘cuture and herîtage are aready the responsîbîîty of the Scottîsh Parîament’ (309). Yet these kînds of statements, however vaguey posed and readîy eusîve, nevertheess provîde a potentîay usefu startîng poînt for contînuîng to press forward arguments on behaf of not ony maîntaînîng but aso strengthenîng pubîc învestment în, and support of, the arts, încudîng im-makîng and cînema cuture, în îne wîth a conceptîon of vaue that surpasses narrowy deined notîons of economîc proitabîîty. Dîrectory of Word Cînema: Scotandîs a contrîbutîon to thîs ongoîng dîscussîon and debate and, we hope aso, to thîs current process of re-îmagînatîon and re-înventîon. Thîs book represents a dîversîty of perspectîves on îssues subject to contestatîon în Scottîsh cînema and cutura studîes (no sînge overrîdîng consensus of thînkîng predomînates, and attentîve readers wî note we mutîpe areas where contrîbutors dîsagree).Dîrectory of Word Cînema: Scotandprovîdes an întroductory overvîew of major înes of schoary thînkîng, wrîtîng and takîng, past and present, about Scottîsh ims, Scottîsh im-makers and themes and îssues concernîng Scottîsh ims and im-makers – whîe aso offerîng a number of new takes, new poînts of emphasîs, new frames for înterpretatîon and evauatîon, new sets of references and new serîes of connectîons. Our aîm îs to provîde a vauabe resource for peope begînnîng to expore înterests în Scottîsh cînema, as we as
Introductîon9
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