The Scottish and International Film Industry's 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...
... middle of paper ...
...Reels, Scotland in Cinema and Television (1982)
London
McCrone. D Scotland the Brand, The making of Scottish Heritage (1995)
Edinburgh
Richards. J Films and British National Identity from Dickens to Dads
Army (1997) Manchester
Notes
=====
1. Roper. H T taken from Hobsbawn. E. The Invention of Tradition
(1983) as quoted by Richards.
2. Womack. P taken from Improvement and Romance (1989) as quoted by
McCrone.
3. Brown. J taken from The Land beyond Brigadoon (1984) as quoted by
Richards.
4. Brown. J taken from The Land beyond Brigadoon (1984) as quoted by
Richards.
---------------------------------------------------------------------
* Children's Story, Wealth of a Nation, Scotland for Fitness, Seafood,
The land they made, Sport in Scotland (all 1938)
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
McFarlaine, Peter and Ryan, Tom. “Peter Weir: Towards the Centre”. Cinema Papers 16:4 (1981): 6-22. Web. 2 May 2014.
Australia has the terrible condition of having an essentially pointless and prefabricated idea of “Aussiness” that really has no relation to our real culture or the way in which we really see ourselves. We, however subscribe to these stereotypes when trying to find some expression of our Australian identity. The feature film, The Castle, deals with issues about Australian identity in the 1990’s. The film uses techniques like camera shots, language and the use of narration to develop conflict between a decent, old fashioned suburban family, the Kerrigans and an unscrupulous corporation called Airlink. Feature films like The Castle are cultural products because they use attitudes, values and stereotypes about what it means to be Australian.
BIBLIOGRAPHY An Introduction to Film Studies Jill Nelmes (ed.) Routledge 1996 Anatomy of Film Bernard H. Dick St. Martins Press 1998 Key Concepts in Cinema Studies Susan Hayward Routledge 1996 Teach Yourself Film Studies Warren Buckland Hodder & Stoughton 1998 Interpreting the Moving Image Noel Carroll Cambridge University Press 1998 The Cinema Book Pam Cook (ed.) BFI 1985 FILMOGRAPHY All That Heaven Allows Dir. Douglas Sirk Universal 1955 Being There Dir. Hal Ashby 1979
After four hard years of fighting, Canadians celebrated the end of the Great War. Many returned to the country early in 1919, only to be brought down by the lack of employment and other disappointments. However, slowly, good times returned back to Canada, as the country ushered into a new era known as the “Roaring Twenties”. Many Canadians participated in the good life as the wealthy, as well as average families had more money to spend. Economic prosperity and technological advances brought Canadians pleasure to their lives. Canadians tuned in to their radios, used the automobile, cheered for their home sports teams, followed new fashion trends, listened to the same music and did the same dances. In addition, the 1920s marked the growth of movies as Canadians packed theatres to watch their favourite stars. The 1920s were one of the most important and revolutionary times for the film industry.
In Shohat and Stam’s article, Unthinking Eurocentrism: Multiculturalism and the media (2013), they discuss the issue of racism within the media and entertainment industry, such as Hollywood films. More importantly, Shohat and Stam’s discuss the assertion of racial politics in casting within the Hollywood films industry. The interesting idea to their argument is that they suggest that for a film to become financially successful, the casting of the protagonist must consist of a white star as they are seen to be ethnically universal (Shohat & Stam, 190). They further suggest that the ethnic minority have been limited to designated roles which ultimately perpetuate their ethnic stereotype (Shohat & Stam, 190). They concern this issue by critically analysing and contrasting western Hollywood films against other ethnic films.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Before the Second World War began Hollywood’s purpose lied within entertainment for the American people. After the war started, the main focus shifted to wartime propaganda. Film was used to display the war in a way that did not show its true colors—including the censorship of soldier causalities and other negative connotations that are a simple fact of war. There was even a time in which some actors became better known to America than politians. Through films, Hollywood began to make a statement of their anti-Nazi beliefs. They began to make motion pictures for American recruitment into the Army as well as many that supported the war effort, and intended to make other Americans more aware of the war’s effect on the United States, and how people can get involved. Many European countries banned these Hollywood films, as they began to affect not only America but many other countries that were involved in the war as well.
With the evolution over the past century of Australia’s screen culture, the industry through both its success and failures has fostered “An Australian film industry, [which] enables Australia to talk to itself, recognize itself and engage the attention of the world in doing so” (Dermody & Jacka, 1987, p 17). Three impactful films within Australian screen culture have been Muriel’s Wedding (House, Moorhouse & Hogan, 1994), Bra Boys (Abberton & DeSouza, 2007) and Samson and Delilah (Shelper & Thornton, 2009), which through their story, funding, release strategies and audience have become influential films for defining “Australian-ness” within Australian screen culture.
Describe some ways in which business values and artistic values in Hollywood contend with one another.
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.