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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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(Loch Ness) Monster Movie: A Return to Primal Scotland

(Loch Ness) Monster Movie: A Return to Primal Scotland

Chapter:
(p.89) Chapter 4 (Loch Ness) Monster Movie: A Return to Primal Scotland
Source:
Scotland: Global Cinema
Author(s):

David Martin-Jones

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748633913.003.0004

This chapter examines the Loch Ness monster movie, an incarnation of the monster genre completely ignored in academic discussions of Scotland and cinema. It begins with a brief overview of the history of Nessie, including its relationship with tourism and the ways in which the early British Nessie movie The Secret of the Loch (1934) used the monster to assess the relationship between England and Scotland. This theme is pursued throughout the rest of the chapter, for the majority of which the focus is on Loch Ness (1996), analysing its contested status in terms of the national identity offered by this U.S./British coproduction to international viewers. Through comparison with other globally peripheral films like Crocodile Dundee (1986) and contemporary U.S. monster movies Jurassic Park (1993), Anaconda (1997), and Lake Placid (1999), Loch Ness is positioned in a broader, global context. Its deliberate appeal to international markets is highlighted, bringing discussion back to the monster's relationship with tourism, a theme which leads into the concluding discussion of The Water Horse (2007).

Keywords:   Loch Ness monster, Scotland, cinema, monster movies, tourism, The Secret of the Loch, England, Loch Ness, Crocodile Dundee, The Water Horse

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