How far has the Scottish and international film industry made a significant contribution to the development of Scottish Identity in the last part of the twentieth century?
When people hear the word 'Scotland' there is, as said by C McArthur (2003:59)'Diverse images and narratives right down to particular words and phrases that immediately come into their head'. These images may it be of tartan, misty landscapes, bagpipes or castles contribute to how Scotland is portrayed and create what is known as a Scottish identity. There is a continuing debate on whether Scottish identity actually exists or is it as argued by H T Roper 1 'an Eighteenth Century invention'. By looking at films that have represented Scotland since the early 1930's and throughout the last part of the Twentieth century, the contribution the film industry has made to Scottish Identity can be examined.
The question of whether Scottish Identity is a myth or reality has continued to be the subject of great debate. Womack's2 view is that we all know Scotland is known for romantic glens, kilted clansmen, a beautiful language and Bonny Prince Charlie but we also know it is not real. D McCrone (1995:56) however argues that 'for something which is not real this image of Scotland is persistent and endemic' Scotland is known predominately around the world for these images that appear in books, films and even on shortbread tins and it seems impossible to escape. Perhaps responsible for 'Romantic Scotland' was Sir Walter Scott the novelist and poet whose work is known for creating a 'highly romantic and fictitious picture of the Scottish past' (McCrone 1995:4). He added to the romanticism of the Highlands with the two dominant representations, tartanry; the use of tartan, kilts and clans and kailyard; a form of Scots writing and dialect seen as sentimental and escapist. D Bruce explains that these stereotypical images represent Scotland (1996:6). These images have built a picture of Scotland popular with tourists from all over the world.
When people hear the word 'Scotland' there is, as said by C McArthur (2003:59)'Diverse images and narratives right down to particular words and phrases that immediately come into their head'. These images may it be of tartan, misty landscapes, bagpipes or castles contribute to how Scotland is portrayed and create what is known as a Scottish identity. There is a continuing debate on whether Scottish identity actually exists or is it as argued by H T Roper 1 'an Eighteenth Century invention'. By looking at films that have represented Scotland since the early 1930's and throughout the last part of the Twentieth century, the contribution the film industry has made to Scottish Identity can be examined.
The question of whether Scottish Identity is a myth or reality has continued to be the subject of great debate. Womack's2 view is that we all know Scotland is known for romantic glens, kilted clansmen, a beautiful language and Bonny Prince Charlie but we also know it is not real. D McCrone (1995:56) however argues that 'for something which is not real this image of Scotland is persistent and endemic' Scotland is known predominately around the world for these images that appear in books, films and even on shortbread tins and it seems impossible to escape. Perhaps responsible for 'Romantic Scotland' was Sir Walter Scott the novelist and poet whose work is known for creating a 'highly romantic and fictitious picture of the Scottish past' (McCrone 1995:4). He added to the romanticism of the Highlands with the two dominant representations, tartanry; the use of tartan, kilts and clans and kailyard; a form of Scots writing and dialect seen as sentimental and escapist. D Bruce explains that these stereotypical images represent Scotland (1996:6). These images have built a picture of Scotland popular with tourists from all over the world.
