Filmmaker Bill Forsyth is one of the most important and fondly regarded of all living Scottish artists. His filmmaking career, beginning with That Sinking Feeling (1979), paved the way for the emergence of an indigenous Scottish cinema. It also established Forsyth as one of the most distinctive and original voices in late twentieth-century European film. This book offers the first integrated and comprehensive study of the director's complete oeuvre. Through extended textual analysis and contextual discussion of each of Forsyth's eight features, it traces the key formal and thematic characteristics of a remarkable career, one which encompasses both three-figure production budgets in Glasgow and multi-million-dollar adventures in the heart of Hollywood. The book also uses Forsyth's films to explore the diverse range of film industrial contexts the director has worked within. Most importantly, it sheds light upon the hitherto under-documented zero-budget travails of 1970s Scotland and inflated expectations of early-1980s British film.

From a near standing start in the 1970s, the emergence and expansion of an aesthetically and culturally distinctive Scottish cinema proved to be one of the most significant developments within late-twentieth and early twenty-first-century British film culture. Individual Scottish films and filmmakers have attracted notable amounts of critical attention as a result. The New Scottish Cinema, however, is the first book to trace Scottish film culture's industrial, creative and critical evolution in comprehensive detail across a forty-year period. On the one hand, it invites readers to reconsider the known - films such as Shallow Grave, Ratcatcher, The Magdalene Sisters, Young Adam, Red Road and The Last King of Scotland. On the other, it uncovers the overlooked, from the 1980s comedic film makers who followed in the footsteps of Bill Forsyth to the variety of present-day Scottish film making - a body of work that encompasses explorations of multiculturalism, exploitation of the macabre and much else in between.In addition to analysing an eclectic range of films and filmmakers, The New Scottish Cinema also examines the diverse industrial, institutional and cultural contexts which have allowed Scottish film to evolve and grow since the 1970s, and relates these to the images of Scotland which artists have put on screen. In so doing, the book narrates a story of interest to any student of contemporary British film.

One of the greatest films ever to be made in Scotland, The Wicker Man immediately garnered a cult following on its release for its intense atmosphere and shocking denouement. This book explores the roots of this powerful, enduring film. With contributors including The Wicker Man director Robin Hardy, it is a thorough and informative read for all fans of this indispensable horror masterpiece.

Documentary cinema has always drawn from real life, but an increasing number of contemporary filmmakers are going further still, drawing onscreen images of reality through a range of animated filmmaking techniques. Drawn from Life is the first book to explore the field of animated documentaries from a diverse range of scholarly and practice-based perspectives, exploring and proposing answers to a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of reality, whether public or private, psychological or political? From early cinema to present-day scientific research, military uses, digital art and gaming, this book casts new light on the capacity of the moving image to act as a record of the world around us, challenging the orthodox definitions of documentary cinema.

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.

Drawn from Life, a multidisciplinary anthology, introduces readers to a diverse range of filmmakers past and present who use the animated image as a documentary tool. In doing so, it explores a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of'reality'? From early cinema to present-day scientific research, military uses, digital art and gaming, Drawn from Life casts new light on the capacity of the moving image to act as a record of the world around us.

This book analyses the regulations and outcomes of labor markets. Chapter One studies the minimum wage effects on selectivity and job specialisation by using a matching model in which agents are horizontally differentiated and where the nature of jobs is endogenous. It discusses the interactions between public policies and a firms' technological choice. Chapter Two answers the question of whether labor market models should be unrealistic and false, or realistic and true. The third chapter focuses on occupational welfare in Denmark.