UNIVERSITY of GLASGOW

Dumfries Campus

Scotland and film

 Introduction

This course explores twentieth-century cinema and cinema culture in Scotland, along with representations of the nation in film.  It approaches the subject schematically, focussing on a series of case studies.  The convenor does not suggest adopting a heavily theorised film studies perspective, as this would be beyond the scope of the MLitt in Scottish Cultural Heritage, although it would be useful if students engaged with the critical texts, exploring Scotland in film, which are recommended on a weekly basis.

The course begins by considering the broadly social and cultural functions of film, both for those who produce film, and those who consume it.  In the first week, we survey recurrent images of Scotland in films, both generated at home and further afied.  This is followed by focussed studies of particular films, and the work of specific filmmakers in various genres, exploring their representations of, and interactions with, Scotland.  These look at Scotland as a rural location (often idyllic, employing kailyard iconography, but sometimes disturbing) and in its urban manifestations (often focussing on social issues).  We compare (early) images of Scotland as remote, and community-focussed, to (often more recent) images of Scotland as metropolitan and fragmented.  Issues considered include the differences, and similarities, between images of Scotland generated within Scotland, Britain and America, and the reasons behind the generation of these images.  We also look at interactions between literature and film, in the case of adaptations of three modern Scottish novels.

Staff


Timetable

The course will run on a Tuesday, 10-1, in Dr Bold’s office (221, Rutherford-McCowan Building).


Aims and intended learning outcomes


Prescribed and recommended texts

Students are requested to familiarise themselves with the readings for that week before the first class.  This may require ordering the first week’s texts from GUL, if they are not yet available at Crichton: if there are problems in availability, please read Petrie at least.  Students would also find it useful to consult:

  • Jonathan Murray, That thinking feeling: a research guide to Scottish cinema 1938-2004 (Edinburgh: Edinburgh College of Art, 2005) (GUL Theatre K40 MUR and on order for Crichton). 

Recommended texts which are not listed on a weekly basis, but which should be consulted on specific weekly topics, include:

  • Alasdair Cameron and Adrienne Scullion Scottish popular theatre and entertainment: historical and critical approaches to theatre and film in Scotland (Glasgow: Glasgow University Library, 1996)  (GUL Theatre D1005 CAM and on order for Crichton).
  • Eddie Dick From Limelight to Satellite: A Scottish Film Book (London: BFI Publishing, 1990). (GUL Theatre K141 DIC and on order for Crichton). 

Assessment

Examination of the electives involves the following.  A critique, approximately 2,000 words of any book on the list of the student’s choice, is to be handed in at the end of Week 4.  This should evaluate the author’s methodology, style, sources, accessibility and success, or otherwise, in achieving her/his self-stated objectives (25%).  In addition, a journal of approximately 5,000 words is to be submitted at the end of Week 12. The journal should be kept on a weekly basis recording the student’s response to current readings.  It should contain a critical introduction as well as critical responses to at least two-thirds of the titles on the list, evaluating the arguments, methodologies, style, clarity and conclusions of individual authors while demonstrating a clear awareness of the processes of reflective learning (50%).  Final oral examination in the presence of two examiners (25%).