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For more than a century, the word 'Kailyard' has been a focal point of Scottish literary and cultural debate. Originally a term of literary criticism, it has come to be used, often pejoratively, across a whole range of academic and popular discourse. Historians, politicians and critics of Scottish film and media have joined literary scholars in using the term to set out a diagnosis of Scottish culture. This is the first comprehensive study of the subject. Andrew Nash traces the origins of the Kailyard diagnosis in the nineteenth century and considers the critical concerns that gave rise to it. He then provides a full reassessment of the literature most commonly associated with the term - the fiction of J.M. Barrie, S.R. Crockett and Ian Maclaren. Placing this work in more appropriate contexts, he considers the literary, social and religious imperatives that underpinned it and discusses the impact of these writers in the publishing world. These chapters are succeeded by detailed analysis of the various ways in which the term has been used in wider discussions of Scottish literature and culture. Discussing literary criticism, film studies, and political and sociological analyses of Scotland, Nash shows how Kailyard, as a critical term, helps expose some of the key issues in Scottish cultural debate in the twentieth century, including discussions over national representation, popular culture and the parochialism of Scottish culture.
In Hoedowns, Reels, and Frolics, old-time musician and flatfoot dancer Philip Jamison journeys into the past and surveys the present to tell the story behind the square dances, step dances, reels, and other forms of dance practiced in southern Appalachia. These distinctive folk dances, Jamison argues, are not the unaltered jigs and reels brought by early British settlers, but hybrids that developed over time by adopting and incorporating elements from other popular forms. He traces the forms from their European, African American, and Native American roots to the modern day. On the way he explores the powerful influence of black culture, showing how practices such as calling dances as well as specific kinds of steps combined with white European forms to create distinctly "American" dances. From cakewalks to clogging, and from the Shoo-fly Swing to the Virginia Reel, Hoedowns, Reels, and Frolics reinterprets an essential aspect of Appalachian culture.
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Cinema from Scotland has attained an unprecedented international profile in the decade or so since Shallow Grave (1995) and Trainspotting (1996) impinged on the consciousness of audiences and critics around the world. Scottish Cinema Now is the first collection of essays to examine in depth the new films and filmmakers that have emerged from Scotland over the last ten years. With contributions from both established names and new voices in British Cinema Studies, the volume combines detailed textual analysis with discussion of industrial issues, scholarship on new movies with historical investigation of unjustly forgotten figures and film from Scotland’s cinematic past, and a focus on international as well as indigenous images of Scottishness. Responding to the ways in recent Scottish filmmaking has transformed the country’s cinematic landscape, Scottish Cinema Now reexamines established critical agendas and sets new ones for the study of Scotland’s relationship with the moving image in the twenty-first century.
Scottish history is undergoing a renaissance. Everyone agrees that an understanding of our nation's history is integral to our experience of its present and the shaping of the future. But the story of Scotland's past is being told with little reference to gendered identities. Not only are women largely missing from these grand narratives, but men's experience has tended to be sublimated in intellectual, political and economic agendas. Neither femininities nor masculinities have been given much of a place in Scotland's past or in the process of nation-making. Gender in Scottish History offers a new perspective on Scotland's past since around 1700, viewing some of the main themes with a gendered perspective. It starts from the assumption that gender is integral to our understanding of the ways in which societies in the past were organised and that national histories have a tendency to be gender blind. Each chapter engages with one key theme from Scottish historiography, asking what happens when women are added to the story and how the story changes when the meanings of gendered understandings and assumptions are probed. Addressing politics, culture, religion, science, education, work, the family and identity, Gender in Scottish History proposes an alternative reading of the Scottish past which is both inclusive and recognisable.
Inhaltsangabe:Abstract: At Glasgow s University Library I discovered a book about Scotland on film, Scotch Reels. Originally, Scotch Reels is the title of a research carried out in 1982 about the depiction of Scotland on screen. It was revealed then that the predominant image of Scotland was very much engaged with stereotypes (defined as the heather and haggis image by one of the book s critics) and had obviously nothing to do with the contemporary reality of Scotland. Not surprisingly, that radical view has found a lot of stern critics. On superficial examination, when I think of all the recent films set in Scotland (ranging from the historical epos Braveheart to the contemporary fast-paced drug story Trainspotting, to mention two of the more popular examples), it seems to me that contemporary films set in Scotland show a wider spectrum of Scottish life than they apparently did before the 1980s, when the stories were mostly (with a few exceptions only) set in the Highlands or on an island, in a community far away from contemporary (modern and industrial) life. As a classic example of those films one can mention the musical Brigadoon by Vicente Minnelli from the year 1954. However, in my thesis I want to concentrate on films set in the City of Glasgow, since there would be far too much material concerned if I considered every single available recent film set in Scotland. I would like to find out whether the image of Glasgow has improved (or widened in its conception) through the release of recent films, compared to its depiction in older movies. As I could not analyse all recent feature films set in Glasgow in this context, I decided to concentrate on a few examples. By taking a closer look at these films I hope to be able to demonstrate how varied (or one-sided as will be determined) the contemporary portrayal of the city is. I do not want to omit mentioning my awareness of the fact that my selection is very subjective. Had I selected other movies, the result would naturally have been a different one. Also, I have not taken into account television films or series set in the Glasgow area. Especially in recent years a whole range of series has been produced and broadcasted, for instance the surreal hospital-drama Psychos, starring Douglas Henshall, the controversial Tinsel Town, set in Glasgow s lively clubbing scene, or Glasgow Kiss, which portrays the city as a modern, airy place, inhabited by sympathetic, educated middle-class people [...]
Brings together well-established and emerging scholars from a variety of disciplines to present a contemporary 'diasporic' perspective on national affairs for Scotland. The book reflects a growing interest in the subject from academics, policy makers and
Over the last three decades, Scottish cinema has seen an unprecedented number of international successes. Films ranging from Local Hero to The Last King of Scotland have not only raised the profile of film-making north of Hadrian’s Wall, but have also raised a number of questions about the place of cinema originating from a small, historically marginalised, as yet stateless nation, within national and transnational film cultures. By providing detailed case studies of some of the biggest films of contemporary Scottish cinema, including Local Hero, Mrs. Brown, Morvern Callar and others, this volume will help readers to understand the key works of the period as well as the industrial, critical and cultural contexts surrounding their creation and reception. As the field of Scottish film studies has also grown and developed during this period, this volume will also introduce readers to the debates sparked by the key works discussed in the book.
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.