Book contents
- Frontmatter
- Contents
- Figures and Tables
- Acknowledgements of Original Publishers
- Personal Acknowledgements
- Contributors
- Dedication
- Editor’s Introduction
- 1 Ashes and Diamonds
- 2 The Roots of the Western
- 3 Pickup on South Street
- 4 Extract from Underworld U.S.A.
- 5 Politicising Scottish Film Culture
- 6 Crossfire and the Anglo-American Critical Tradition
- 7 Breaking the Signs: Scotch Myths as Cultural Struggle
- 8 Scotland and Cinema: The Iniquity of the Fathers
- 9 The Maggie
- 10 National Identities
- 11 TV Commercials: Moving Statues and Old Movies
- 12 Tele-history: The Dragon Has Two Tongues
- 13 Scotland’s Story
- 14 The Dialectic of National Identity: The Glasgow Empire Exhibition of 1938
- 15 The New Scottish Cinema?
- 16 The Rises and Falls of the Edinburgh International Film Festival
- 17 A Dram for All Seasons: The Diverse Identities of Scotch
- 18 Scottish Culture: A Reply to David McCrone
- 19 In Praise of a Poor Cinema
- 20 Wake for a Glasgow Culture Hero
- 21 The Cultural Necessity of a Poor Celtic Cinema
- 22 Culloden: A Pre-emptive Strike
- 23 Casablanca: Where Have All the Fascists Gone?
- 24 The Scottish Discursive Unconscious
- 25 Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City
- 26 Artists and Philistines: The Irish and Scottish Film Milieux
- 27 Braveheart and the Scottish Aesthetic Dementia
- 28 The Exquisite Corpse of Rab(elais) C(opernicus) Nesbitt
- 29 Mise-en-scène Degree Zero: Jean-Pierre Melville’s Le Samouraï
- 30 The Critics Who Knew Too Little: Hitchcock and the Absent Class Paradigm
- 31 Caledonianising Macbeth, or, How Scottish is ‘The Scottish Play’?
- 32 Two Steps Forward, One Step Back: Cultural Struggle in the British Film Institute
- 33 Transatlantic Scots, Their Interlocutors and the Scottish Discursive Unconscious
- 34 Scotch Myths, Scottish Film Culture and the Suppression of Ludic Modernism
- 35 Bring Furrit the Tartan-Necks! Nationalist Intellectuals and Scottish Popular Culture
- 36 Vanished or Banished? Murray Grigor as Absent Scots Auteur
- Author’s Afterword
- Select Bibliography
- Indexes
14 - The Dialectic of National Identity: The Glasgow Empire Exhibition of 1938
Published online by Cambridge University Press: 05 March 2025
- Frontmatter
- Contents
- Figures and Tables
- Acknowledgements of Original Publishers
- Personal Acknowledgements
- Contributors
- Dedication
- Editor’s Introduction
- 1 Ashes and Diamonds
- 2 The Roots of the Western
- 3 Pickup on South Street
- 4 Extract from Underworld U.S.A.
- 5 Politicising Scottish Film Culture
- 6 Crossfire and the Anglo-American Critical Tradition
- 7 Breaking the Signs: Scotch Myths as Cultural Struggle
- 8 Scotland and Cinema: The Iniquity of the Fathers
- 9 The Maggie
- 10 National Identities
- 11 TV Commercials: Moving Statues and Old Movies
- 12 Tele-history: The Dragon Has Two Tongues
- 13 Scotland’s Story
- 14 The Dialectic of National Identity: The Glasgow Empire Exhibition of 1938
- 15 The New Scottish Cinema?
- 16 The Rises and Falls of the Edinburgh International Film Festival
- 17 A Dram for All Seasons: The Diverse Identities of Scotch
- 18 Scottish Culture: A Reply to David McCrone
- 19 In Praise of a Poor Cinema
- 20 Wake for a Glasgow Culture Hero
- 21 The Cultural Necessity of a Poor Celtic Cinema
- 22 Culloden: A Pre-emptive Strike
- 23 Casablanca: Where Have All the Fascists Gone?
- 24 The Scottish Discursive Unconscious
- 25 Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City
- 26 Artists and Philistines: The Irish and Scottish Film Milieux
- 27 Braveheart and the Scottish Aesthetic Dementia
- 28 The Exquisite Corpse of Rab(elais) C(opernicus) Nesbitt
- 29 Mise-en-scène Degree Zero: Jean-Pierre Melville’s Le Samouraï
- 30 The Critics Who Knew Too Little: Hitchcock and the Absent Class Paradigm
- 31 Caledonianising Macbeth, or, How Scottish is ‘The Scottish Play’?
- 32 Two Steps Forward, One Step Back: Cultural Struggle in the British Film Institute
- 33 Transatlantic Scots, Their Interlocutors and the Scottish Discursive Unconscious
- 34 Scotch Myths, Scottish Film Culture and the Suppression of Ludic Modernism
- 35 Bring Furrit the Tartan-Necks! Nationalist Intellectuals and Scottish Popular Culture
- 36 Vanished or Banished? Murray Grigor as Absent Scots Auteur
- Author’s Afterword
- Select Bibliography
- Indexes
Summary
Tir nam Beann, Dachaidh Mo Ghaoil [Land of the mountains, my beloved home]
Inscription above the entrance to the Clachan, Glasgow Empire Exhibition, 1938In the summer of 1983 the Scottish Development Agency entered into a promotional exercise with Selfridges, the London department store. Over a substantial area of floor space a Scottish village was constructed, the shape of the papier mâché walls reprising Scottish rural vernacular architecture, the square containing a (by all appearances) genuine parish pump and trees, and the backdrops consisting of painted hills and castles. Attached to the walls at various places were enamelled signs, of the type common between the Wars, for products such as Wild Woodbine and Richmond Gem cigarettes, and leaning against the various trees and walls were milk churns, wagon wheels and a grocery boy's delivery bike of the kind generations born between the Wars can recall from their childhood. The names over the buildings included Flora MacDonald's China Gifts, The Balmoral Shop (crystal and glass), The Laird's Shop (knitwear), The Sweetie Shop, and The Gamekeeper's Inn. The interior of the latter was panelled in wood, had sheep and stags’ heads on the wall, stuffed grouse and salmon in glass cases, and an old copper kettle on top of the iron stove which nestled in a homely papier mâché hearth. The only potentially discordant note was the handful of vinyl records scattered on the rough-hewn table outside the inn, but the titles of the discs were entirely in keeping with the overall milieu: The Gathering of the Clans, Caledonian Heritage and The Crags of Tumbledown Mountain, the latter with the pipes and drums and regimental band of the Scots Guards celebrating the regiment's exploits in the Malvinas (more popularly known as the Falklands) War.
The central contradiction which the Selfridges Scottish village (needless to say, unconsciously) poses is as follows. A country, four-fifths of whose population live in cities and are oriented towards industrial production (in transition, of course, from traditional coal and steel-based heavy industry towards electronic industries), is constructed – not by poets and artists, but by the central government agency concerned with national economic regeneration – in exclusively rural Highland terms. That contradiction is a complex but illustrative issue of the historical construction of national identity and the reasons why such constructions were and are necessary.
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- Cinema, Culture, ScotlandSelected Essays, pp. 159 - 170Publisher: Edinburgh University PressPrint publication year: 2024