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Scotland: Global CinemaGenres, Modes and Identities$
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David Martin-Jones

Print publication date: 2005

Print ISBN-13: 9780748633913

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748633913.001.0001

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Road Movie: Scotland in the World

Road Movie: Scotland in the World

Chapter:
(p.45) Chapter 2 Road Movie: Scotland in the World
Source:
Scotland: Global Cinema
Author(s):

David Martin-Jones

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748633913.003.0002

This chapter explores the place of the road movie in Scottish cinema. After providing a brief overview of existing literature on the genre, it discusses the history of road movies featuring Scotland, in particular the dominant trend in British films to depict Scotland as an end point for journeys featuring English protagonists. The chapter then charts a shift in emphasis that became apparent in the early 1990s to road movies featuring Scottish protagonists. Soft Top, Hard Shoulder (1993) follows a Scot returning to Scotland, simultaneously emphasising a rejuvenation of Scottish national identity and a nuanced appreciation of its ethnic complexities. For their part, Ken Loach's Carla's Song (1996) and his contribution to the portmanteau film Tickets (2005) depict Scots on the road in wider, global contexts. These films illustrate the similarities between certain sections of the Scottish populace (especially the working classes) and various manifestations of the growing global underclass. Like Lynne Ramsay's Morvern Callar (2002), Loach's films use the pretext of a journey to explore the evolving nature of Scottish identity within the broader context of globalisation.

Keywords:   Scotland, Soft Top, Hard Shoulder, Carla's Song, Tickets, road movies, cinema, journeys, national identity, globalisation

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