Discourses are a way to understand something (in our case, Scottish films) by their associations with other things such as symbols, texts, connotations, denotations, the past, stereotypes etc. Discourse of films "at a societal level it provides a reflection of cultural norms, social structures and ideologies. At the individual level it is an important element in shaping experiences and in molding relationships between people and places" (Malcomson, 1985) this suggests the importance of the portrayal of Scotland and Scottishness in the medium of film.
There are three main discourses which are used to portray Scotland in film these are Kailyard, Tartanry and Clydesideism (Caughie, 1990). These discourses perpetuate the representation of Scotland as politically and culturally irrelevant. The 'big three' discourses also have the ability to "evoke images as contrary as Glasgow hard men and prim Edinburgh lawyers; Clyde shipbuilders and rural, very proper Presbyterian villagers; plucky Gaels and ruddy-cheeked, whisky-swilling Highlanders in ridiculous plaid dress. Yet, while all of these images seem to be recognizably 'Scottish,' they do little justice to everyday Scotland, even while they retain a very real role in preserving many Scots' sense of their own national identity." (Bicket, 1998)
Kailyard, literal translation, cabbage-patch, is a sentimental and nostalgic representation of rural life in Scotland without any impact of real issues or problems. It does not normally pin point the time in which it is set an example of this can be seen in films such as Brigadoon (1954). The historical discourse of Kailyard is described by Pattie (2000) as the "glutinous sentimilisation of Scottish rural life"
"For more than a century, the word 'Kailyard' has been a focal point of Scottish literary and cultural debate. Originally a term of literary criticism, it has come to be used, often pejoratively, across a whole range of academic and popular discourse. Historians, politicians and critics of Scottish film and media have joined literary scholars in using the term to set out a diagnosis of Scottish culture." (Rodopi 2007)
Examples of Kailyard:
Brigadoon (1954)
Whisky Galore (1949)
Tartanry is the oldest discourse and is thought to descend from the early 19th century work of Sir Walter Scott. "The political discourse of tartanry is based on the mythicized past of the brave but unsuccessful heros" (Malcomson, 1985). This results in a romanticised portrayal of Scotland which normally depicts noble highlanders in beautiful highland settings. This does, as the name suggests, draw upon typical Scottish Highland imagery with tartan, thistles and other more garish symbols. Examples of tartanry can be found in films such as Braveheart and Rob Roy. David Pattie describes the historical discourse of Tartanry as "the conversion of the unwanted history of the Highlands into a nationally stultifying kitsch", in saying this Tartanry could be said to be the most easily recognisable 'Scotland' to non-scots.
This portrays a Scotland which in reality can only be seen in a mild form in small highland villages with their tourist shop and friendly village atmosphere.
Examples of Tartanry:
Braveheart (1995)
Clydesideism as a discourse has only appeared over the last couple of decades. Its focus is on West of Scotland (typically Glasgow) and represents Scottish males as hard working in a more urban setting. It was developed as a reaction to the other discourses and show a more industrial Scotland. This discourse is perpetuated by people like the Scottish comedian Billy Connelly. It is heavily focused on working men and their relationships.
As a reaction to this another setting for Scotland arose in film and literature such as Irvine Welsh's Trainspotting, which some felt was an evolvement and dealt with a darker and more gothic side, even addressing issues such as drug culture.
These are not generally considered to be realistic portrayals of Scotland. The associations do echo the stereotypes which in many ways give Scotland a unique personality. Although they do not portray day-to-day life in a modern Scotland.
Examples of Clydesidism:
The Big Man (1990)
The Discourse Problem
The main problems with these discourses are that they do not accurately represent contemporary Scottish life. The continuation of these discourses will only continue to perpetuate the stereotypes of Scotland to the rest of the world. What is possibly more disturbing is the idea put forward by David Bickets that these discourses serve a vital role in constructing Scots national identity.
McArthur (1982) descibed both Kailyard and Tartanry as "monolithic and regressive discourses". This notion was then expanded to suggest that even with the introduction of Clydesidesim as a means of portraying an urban, industrialised Scotland was still "deficient in their refusal of political analysis, class conflict or industrial relations in favour of a concentration on human drama". Petrie (2005)
While there are many academic sources which suggest that 'the big three' discourses are reductionist and can not accurately portray Scotland or it's people, there are some that see the representation of Scotland through these discourses positively. Whyte (1995) said that "the role of mythology, legend and fable, the gothic, the supernatural and the unconscious within the development of the Scottish imagination is not a symptom of psychosis but a sophisticated engagement with the fantastic that other cultures might celebrate as magic realism"
Women in Discourse
Another issue with the 'big three' is that they are male dominant and undervalue female contribution. According to Anderson and Norquay the "apparent absence of women is not even confined to masculine preserves." According to Petrie (2004) this masculine bias in representations of Scottish culture began to be questioned post 1979.
David McCrone "those identities diagnosed as archetypically Scottish by friend and foe alike - The Kailyard, Tartanry and Clydesideism - have little place for women... there is no analogous 'lass o' pairts'; the image of tartanry is a male military image(and kilts were not a female form of dress); and the Clydeside icon is a skilled male worker who is man enough to 'care' for his women folk."
Duncan Petrie elaborated on the clear masculinity of Clydesideism, the most recent discourse, "Clydesideism is rooted in male comradeship, the football match the pub and exaggerated use of Scots vernacular, emphasising a no-nonsense and vigourous masculine attitude to which women have no legitimate resource." It is for these reasons McCrone states that women are "consistently relegated to mere guardians of the moral and family values." With Clydesidism being the most recent discourse, only appearing in the last couple of decades, and appearing the most masculine yet it does not seem that discourses are becoming more equally representative of gender.
Some would argue there are glimpses of female strength appearing in Scottish discourses. The film Rob Roy (1995) does portray a strong female role opposite the hero in his wife. The film is not, however named after her and the inequality remains.
Discourse
Discourses are a way to understand something (in our case, Scottish films) by their associations with other things such as symbols, texts, connotations, denotations, the past, stereotypes etc. Discourse of films "at a societal level it provides a reflection of cultural norms, social structures and ideologies. At the individual level it is an important element in shaping experiences and in molding relationships between people and places" (Malcomson, 1985) this suggests the importance of the portrayal of Scotland and Scottishness in the medium of film.
There are three main discourses which are used to portray Scotland in film these are Kailyard, Tartanry and Clydesideism (Caughie, 1990). These discourses perpetuate the representation of Scotland as politically and culturally irrelevant. The 'big three' discourses also have the ability to "evoke images as contrary as Glasgow hard men and prim Edinburgh lawyers; Clyde shipbuilders and rural, very proper Presbyterian villagers; plucky Gaels and ruddy-cheeked, whisky-swilling Highlanders in ridiculous plaid dress. Yet, while all of these images seem to be recognizably 'Scottish,' they do little justice to everyday Scotland, even while they retain a very real role in preserving many Scots' sense of their own national identity." (Bicket, 1998)
Kailyard, literal translation, cabbage-patch, is a sentimental and nostalgic representation of rural life in Scotland without any impact of real issues or problems. It does not normally pin point the time in which it is set an example of this can be seen in films such as Brigadoon (1954). The historical discourse of Kailyard is described by Pattie (2000) as the "glutinous sentimilisation of Scottish rural life"
"For more than a century, the word 'Kailyard' has been a focal point of Scottish literary and cultural debate. Originally a term of literary criticism, it has come to be used, often pejoratively, across a whole range of academic and popular discourse. Historians, politicians and critics of Scottish film and media have joined literary scholars in using the term to set out a diagnosis of Scottish culture." (Rodopi 2007)
Examples of Kailyard:
Brigadoon (1954)
Whisky Galore (1949)
Tartanry is the oldest discourse and is thought to descend from the early 19th century work of Sir Walter Scott. "The political discourse of tartanry is based on the mythicized past of the brave but unsuccessful heros" (Malcomson, 1985). This results in a romanticised portrayal of Scotland which normally depicts noble highlanders in beautiful highland settings. This does, as the name suggests, draw upon typical Scottish Highland imagery with tartan, thistles and other more garish symbols. Examples of tartanry can be found in films such as Braveheart and Rob Roy. David Pattie describes the historical discourse of Tartanry as "the conversion of the unwanted history of the Highlands into a nationally stultifying kitsch", in saying this Tartanry could be said to be the most easily recognisable 'Scotland' to non-scots.
This portrays a Scotland which in reality can only be seen in a mild form in small highland villages with their tourist shop and friendly village atmosphere.
Examples of Tartanry:
Braveheart (1995)
Clydesideism as a discourse has only appeared over the last couple of decades. Its focus is on West of Scotland (typically Glasgow) and represents Scottish males as hard working in a more urban setting. It was developed as a reaction to the other discourses and show a more industrial Scotland. This discourse is perpetuated by people like the Scottish comedian Billy Connelly. It is heavily focused on working men and their relationships.
As a reaction to this another setting for Scotland arose in film and literature such as Irvine Welsh's Trainspotting, which some felt was an evolvement and dealt with a darker and more gothic side, even addressing issues such as drug culture.
These are not generally considered to be realistic portrayals of Scotland. The associations do echo the stereotypes which in many ways give Scotland a unique personality. Although they do not portray day-to-day life in a modern Scotland.
Examples of Clydesidism:
The Big Man (1990)
The Discourse Problem
The main problems with these discourses are that they do not accurately represent contemporary Scottish life. The continuation of these discourses will only continue to perpetuate the stereotypes of Scotland to the rest of the world. What is possibly more disturbing is the idea put forward by David Bickets that these discourses serve a vital role in constructing Scots national identity.
McArthur (1982) descibed both Kailyard and Tartanry as "monolithic and regressive discourses". This notion was then expanded to suggest that even with the introduction of Clydesidesim as a means of portraying an urban, industrialised Scotland was still "deficient in their refusal of political analysis, class conflict or industrial relations in favour of a concentration on human drama". Petrie (2005)
While there are many academic sources which suggest that 'the big three' discourses are reductionist and can not accurately portray Scotland or it's people, there are some that see the representation of Scotland through these discourses positively. Whyte (1995) said that "the role of mythology, legend and fable, the gothic, the supernatural and the unconscious within the development of the Scottish imagination is not a symptom of psychosis but a sophisticated engagement with the fantastic that other cultures might celebrate as magic realism"
Women in Discourse
Another issue with the 'big three' is that they are male dominant and undervalue female contribution. According to Anderson and Norquay the "apparent absence of women is not even confined to masculine preserves." According to Petrie (2004) this masculine bias in representations of Scottish culture began to be questioned post 1979.
David McCrone "those identities diagnosed as archetypically Scottish by friend and foe alike - The Kailyard, Tartanry and Clydesideism - have little place for women... there is no analogous 'lass o' pairts'; the image of tartanry is a male military image(and kilts were not a female form of dress); and the Clydeside icon is a skilled male worker who is man enough to 'care' for his women folk."
Duncan Petrie elaborated on the clear masculinity of Clydesideism, the most recent discourse, "Clydesideism is rooted in male comradeship, the football match the pub and exaggerated use of Scots vernacular, emphasising a no-nonsense and vigourous masculine attitude to which women have no legitimate resource." It is for these reasons McCrone states that women are "consistently relegated to mere guardians of the moral and family values." With Clydesidism being the most recent discourse, only appearing in the last couple of decades, and appearing the most masculine yet it does not seem that discourses are becoming more equally representative of gender.
Some would argue there are glimpses of female strength appearing in Scottish discourses. The film Rob Roy (1995) does portray a strong female role opposite the hero in his wife. The film is not, however named after her and the inequality remains.
Scottish Discourse References