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
10 - National Identities
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
There is a strand of continental European historiography that is much concerned with historical time or, more precisely, with the articulation of different ‘times’ in specific historical moments. The decision to hold a summer school entitled ‘National Fictions: Struggles over the Meaning of World War II’ emerged out of just such an articulation of temporalities. More specifically, that decision emerged from the coming together of two phenomena. Firstly, the process, extending over some years, whereby nationalism ceased to be a scare fetish of the Left and began to be addressed in its historical dimension, and, secondly, the altogether more brief paroxysm of the South Atlantic War of 1982, in which conceptions of nationality shaped by key generative moments of the national past loomed so large.
The process of the (British) Left's coming to terms with nationalism can be followed through at a theoretical level by reference to certain key texts. The central one of these (which was studied at the summer school) is Tom Nairn (1932–2023)'s The Break-Up of Britain, a work deeply shaped by Nairn's own situation as a Scot perceiving the forces at work in his own country in the seventies. Alongside that book's recognition of the historical necessity of nationalism, it also to some extent displays a continuing distaste for that same ideological phenomenon (and, indeed, this forms the basis of the critique of Nairn's position now emerging in Scotland). Succeeding important works seem progressively more sympathetic to nationalism. Ernesto Laclau's Politics and Ideology in Marxist Theory, along with the useful works responding to it, paved the way for the crucially important articulation of the idea of the ‘national-popular’ with the idea of ‘hegemony’ derived from Antonio Gramsci (1891–1937). The figurative cleansing of nationalism within contemporary Left theoretical writing would appear to be complete in Benedict Anderson (1936–2015)'s Imagined Communities, which locates nationalism not within the armature of modern political -isms, but as secular heir to the great religious systems of previous epochs.
This ongoing debate, therefore, became articulated with the explosive event of the South Atlantic War, when the Left and liberal opinion more generally experienced what could only be described as a deep sense of shock at the massive resurgence of a regressive definition of British national identity.
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- Cinema, Culture, ScotlandSelected Essays, pp. 133 - 138Publisher: Edinburgh University PressPrint publication year: 2024