The films "Brigadoon" and "Braveheart" have an enormous resonance both for Scots throughout the world and the wide audience of non-Scots for whom such films provide general impressions of "Scottishness". This provocative book discusses the films' representations of Scotland and the Scots, looking at that cluster of images and stories whereby Scotland is (mis)recognized and yet often comes to be "known". Colin McArthur explores "Brigadoon" and documents the contempt the film has elicited, particularly from the Scots intelligentsia. He succumbs to "Brigadoon's" charm, but finds no such mitigating features in "Braveheart". Tracing the film's appropriation by political, touristic and sporting figures, he argues that, far from being "about" Scottish history, it is primarily "about" Hollywood and its cinematic traditions. He looks at the way film distorts history and examines "Braveheart's" sinister appeal to the proto-fascist psyche.

This book anthologises selected key works from the oeuvre of Colin McArthur, a pioneering figure within Anglophone Film and Scottish cultural studies since the 1960s. Collecting together thirty-seven essays written between 1966 and 2022, twenty-one of which were hitherto out-of-print, the book identifies and illustrates the central strands of scholarly interest that have defined one of British Film Studies and Scottish Cultural Studies' most influential careers: critical investigation and legitimisation of mid-twentieth-century Hollywood cinema and popular American film genres; the cinematic representation of Scotland and the gradual development of a Scottish film production sector; and Scotland's status as a distinctive visual and material cultural signifier within a diverse range of international popular cultures from the eighteenth century to the present.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++National Library of ScotlandT196904Drop-head title. Dated on internal evidence. Concerns water rights to a mill built by MacArthur. Edinburgh, 1760]. 68p.; 4

Alexander Mackendrick's first feature film "Whisky Galore!" (1949), based on the novel by Compton Mackenzie, pits the crafty islanders of Todday against the Customs and Excise men trying to halt their illegal consumption of whisky. His film "The Maggie", the adventures of a decrepit River Clyde cargo boat, was released in 1953. Both films offer distinctive representations of Scotland and the Scots, a theme that Colin McArthur pursues in this lively guide to the two films. He explores the wider context of a Britain experiencing and emerging from post-war austerity, as well as the role of Ealing Studios, for which Mackendrick made both films. McArthur examines the tastes and perceptions of reviewers and audiences, both British and American, at the time of the films' release, as well as changed contemporary perspectives. He pays particular attention to the career of Alexander Mackendrick and offers the controversial argument that while their representations of "Scottishness" may be suspect, the films themselves are of great artistic integrity and accomplishment.