Book contents
- Frontmatter
- Contents
- Figures and Tables
- Acknowledgements of Original Publishers
- Personal Acknowledgements
- Contributors
- Dedication
- Editor’s Introduction
- 1 Ashes and Diamonds
- 2 The Roots of the Western
- 3 Pickup on South Street
- 4 Extract from Underworld U.S.A.
- 5 Politicising Scottish Film Culture
- 6 Crossfire and the Anglo-American Critical Tradition
- 7 Breaking the Signs: Scotch Myths as Cultural Struggle
- 8 Scotland and Cinema: The Iniquity of the Fathers
- 9 The Maggie
- 10 National Identities
- 11 TV Commercials: Moving Statues and Old Movies
- 12 Tele-history: The Dragon Has Two Tongues
- 13 Scotland’s Story
- 14 The Dialectic of National Identity: The Glasgow Empire Exhibition of 1938
- 15 The New Scottish Cinema?
- 16 The Rises and Falls of the Edinburgh International Film Festival
- 17 A Dram for All Seasons: The Diverse Identities of Scotch
- 18 Scottish Culture: A Reply to David McCrone
- 19 In Praise of a Poor Cinema
- 20 Wake for a Glasgow Culture Hero
- 21 The Cultural Necessity of a Poor Celtic Cinema
- 22 Culloden: A Pre-emptive Strike
- 23 Casablanca: Where Have All the Fascists Gone?
- 24 The Scottish Discursive Unconscious
- 25 Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City
- 26 Artists and Philistines: The Irish and Scottish Film Milieux
- 27 Braveheart and the Scottish Aesthetic Dementia
- 28 The Exquisite Corpse of Rab(elais) C(opernicus) Nesbitt
- 29 Mise-en-scène Degree Zero: Jean-Pierre Melville’s Le Samouraï
- 30 The Critics Who Knew Too Little: Hitchcock and the Absent Class Paradigm
- 31 Caledonianising Macbeth, or, How Scottish is ‘The Scottish Play’?
- 32 Two Steps Forward, One Step Back: Cultural Struggle in the British Film Institute
- 33 Transatlantic Scots, Their Interlocutors and the Scottish Discursive Unconscious
- 34 Scotch Myths, Scottish Film Culture and the Suppression of Ludic Modernism
- 35 Bring Furrit the Tartan-Necks! Nationalist Intellectuals and Scottish Popular Culture
- 36 Vanished or Banished? Murray Grigor as Absent Scots Auteur
- Author’s Afterword
- Select Bibliography
- Indexes
35 - Bring Furrit the Tartan-Necks! Nationalist Intellectuals and Scottish Popular Culture
Published online by Cambridge University Press: 05 March 2025
- Frontmatter
- Contents
- Figures and Tables
- Acknowledgements of Original Publishers
- Personal Acknowledgements
- Contributors
- Dedication
- Editor’s Introduction
- 1 Ashes and Diamonds
- 2 The Roots of the Western
- 3 Pickup on South Street
- 4 Extract from Underworld U.S.A.
- 5 Politicising Scottish Film Culture
- 6 Crossfire and the Anglo-American Critical Tradition
- 7 Breaking the Signs: Scotch Myths as Cultural Struggle
- 8 Scotland and Cinema: The Iniquity of the Fathers
- 9 The Maggie
- 10 National Identities
- 11 TV Commercials: Moving Statues and Old Movies
- 12 Tele-history: The Dragon Has Two Tongues
- 13 Scotland’s Story
- 14 The Dialectic of National Identity: The Glasgow Empire Exhibition of 1938
- 15 The New Scottish Cinema?
- 16 The Rises and Falls of the Edinburgh International Film Festival
- 17 A Dram for All Seasons: The Diverse Identities of Scotch
- 18 Scottish Culture: A Reply to David McCrone
- 19 In Praise of a Poor Cinema
- 20 Wake for a Glasgow Culture Hero
- 21 The Cultural Necessity of a Poor Celtic Cinema
- 22 Culloden: A Pre-emptive Strike
- 23 Casablanca: Where Have All the Fascists Gone?
- 24 The Scottish Discursive Unconscious
- 25 Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City
- 26 Artists and Philistines: The Irish and Scottish Film Milieux
- 27 Braveheart and the Scottish Aesthetic Dementia
- 28 The Exquisite Corpse of Rab(elais) C(opernicus) Nesbitt
- 29 Mise-en-scène Degree Zero: Jean-Pierre Melville’s Le Samouraï
- 30 The Critics Who Knew Too Little: Hitchcock and the Absent Class Paradigm
- 31 Caledonianising Macbeth, or, How Scottish is ‘The Scottish Play’?
- 32 Two Steps Forward, One Step Back: Cultural Struggle in the British Film Institute
- 33 Transatlantic Scots, Their Interlocutors and the Scottish Discursive Unconscious
- 34 Scotch Myths, Scottish Film Culture and the Suppression of Ludic Modernism
- 35 Bring Furrit the Tartan-Necks! Nationalist Intellectuals and Scottish Popular Culture
- 36 Vanished or Banished? Murray Grigor as Absent Scots Auteur
- Author’s Afterword
- Select Bibliography
- Indexes
Summary
Advancing a position unpopular in contemporary Scotland, Fred Halliday (1946–2010) permits himself a volcanic eruption of principled feeling about nationalism in an otherwise sober essay based on his Ernest Gellner [1925–95] Memorial Lecture:
Yes, we welcome the diversity and the legitimacy which nationality brings, but we should also recognise the down side – not just the wars, the massacres, the intolerance, but the everyday nastiness of much nationalism, its petty-mindedness, its mean-spiritedness, the endless self-serving arguments, the vast culture of moaning, whingeing, kvetching, self-pity, special pleading, that ‘narcissism of small differences’ that Freud rightly denounced.
In both quoted extract and full essay alike, Halliday probes the implicitly and explicitly normative claims of nationalism on a number of fronts: national self-determination, the national in relation to the supranational, nationalism's moral agenda, and its uses of history. In all these areas Halliday poses substantial questions: whether national self-determination is always worth the cost in terms of social upheaval (Kosovo is his most recent example); whether it always delivers more humane state formations (Chechnya being a case in point); whether the national, as a given, should invariably trump the supranational (the routine flouting of the United Nations charter and aims by national interests, nuclear proliferation argued on the basis of national defence); whether loyalty to the nation state should always supersede other loyalties (class, gender, faith); and whether nationalism's relaxed attitude to its own diverse ‘imaginings’ needs to be challenged (Ernest Renan [1823–92]'s famous belief that ‘Getting your history wrong is part of being a nation’).
Halliday's timely reminder that nationalism is not a natural but a historical phenomenon challenges those in Scotland and elsewhere who would regard scepticism about nationalism as tantamount to treason. His piece should be read as a backdrop to this essay, which is about some of the cultural dimensions of the collective turn to nationalism of a significant section of the Scots intelligentsia. In particular, this essay emphasises the silences and deformations that this turn imposes on them with regard to their position on certain popular Scottish cultural phenomena, most notably, what has come to be known as Tartanry or Highlandism.
- Type
- Chapter
- Information
- Cinema, Culture, ScotlandSelected Essays, pp. 487 - 502Publisher: Edinburgh University PressPrint publication year: 2024