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9781443803311

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'A passionate and informed collection of essays that metes out tough love to the past and present of Scottish cinema. Scottish Cinema Now picks up on - and sometimes picks on - old arguments about the culture, industry and financing of Scottish film, and develops new ones. The new insights are refreshingly revisionist and break new ground in a number of areas: video art, international marketing, gender, kailyard, and the rhetoric and legacy of New Scottish Cinema. No-one who is teaching or studying Scottish film or culture can ignore this book. Nor should filmmakers or politicians, as it has quite a policy kick.'Mark Cousins, Film Critic'Basically Scotish Cinema Now is a state of the cinematic nation book, a slim volume that brings together some of the best writers who have something to say about Scotish film and the strengths and weaknesses it possesses and why these strengths and weaknesses happen to be there'Tony Mckibbin

A passionate and informed collection of essays that metes out tough love to the past and present of Scottish cinema. Scottish Cinema Now picks up on - and sometimes picks on - old arguments about the culture, industry and financing of Scottish film, and develops new ones. The new insights are refreshingly revisionist and break new ground in a number of areas: video art, international marketing, gender, kailyard, and the rhetoric and legacy of New Scottish Cinema. No-one who is teaching or studying Scottish film or culture can ignore this book. Nor should filmmakers or politicians, as it has quite a policy kick. Mark Cousins, Film Critic Basically Scotish Cinema Now is a state of the cinematic nation book, a slim volume that brings together some of the best writers who have something to say about Scotish film and the strengths and weaknesses it possesses and why these strengths and weaknesses happen to be there Tony Mckibbin

Author Information

Jonathan Murray is Lecturer in Film and Visual Culture at Edinburgh College of Art. He is the author of That Thinking Feeling: A Research Guide to Scottish Cinema, 1938 - 2004 (Edinburgh College of Art/Scottish Screen, 2005), Discomfort and Joy: the Cinema of Bill Forsyth (Peter Lang, forthcoming), The New Scottish Cinema (I. B. Tauris, forthcoming) and the co-editor of Constructing The Wicker Man: Film and Cultural Studies Perspectives (University of Glasgow Crichton Publications, 2005) and The Quest for The Wicker Man: History, folklore and Pagan perspectives (Luath Press, 2006). Fidelma Farley has held posts in the Film Studies Departments at University College Dublin, the University of Aberdeen and the National University of Ireland, Galway. She has written about Irish cinema, with a particular focus on gender and post-colonialism, including This Other Eden (Cork University Press, 2001), Anne Devlin (Flicks Books, 2000) and, most recently, articles on Irish and Scottish cinema, and Irish-language cinema.Rod Stoneman is the Director of the Huston School of Film and Digital Media at the National University of Ireland, Galway. He was Chief Executive of Bord Scannán na hÉireann/the Irish Film Board until September 2003 and previously a Deputy Commissioning Editor in the Independent Film and Video Department at Channel 4 Television. He has made a number of documentaries including Ireland: The Silent Voices (1983), Italy: the Image Business (1984) and 12,000 Years of Blindness (2007) and written extensively on film and television. His most recent book, Chávez: The Revolution Will Not Be Televised, was published by Wallflower Press in 2008.

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