Search

Using the case study ofThe Da Vinci Code(2006), especially the extensive promotional activities surrounding the film (organised by VisitScotland, Maison de la France, and VisitBritain), this paper argues that film tourism be understood as a facet of heritage tourism. Scotland is a nation with a long history as a destination for heritage tourism, including literary and art tourism, whose brand identity in this regard functions slightly differently to that of England. Scotland has a large international diaspora, the result of its specific national history, which conceives of itself as Scottish, and returns – from New Zealand, Australia, Canada, and the USA – to events like Homecoming Scotland (2009) to reconnect with its roots in the manner of heritage tourism.The Da Vinci Code, likeBraveheartbefore it andBravesince, appeals to this international audience through its depiction of Scotland. By analysing the film's construction of history, and the scenes shot in Rosslyn Chapel near Edinburgh (Rosslyn has previously featured in paintings and photographs, and was the star of a famous diorama in the early nineteenth century), it becomes evident that a sense of return and belonging is evoked in this Scottish setting that can resonate with heritage tourists. [ABSTRACT FROM PUBLISHER]

This article examines the recent phenomenon of popular Indian films shot on location in Scotland. It explores what is to be gained by Scotland and India from this arrangement, both financially and culturally. In contrast to critics who maintain that Scotland is framed in films like Kuch Kuch Hota Hai (1998) and Kandukondain Kandukondain (2000) as a fantasyland, I argue that it is rendered specifically as a tourist destination, in a manner that reflects the agendas of both nations. I then examine Pyaar Ishq aur Mohabbat (2001), a recent film shot almost entirely on location in Scotland, to see how it frames Scotland slightly differently. I focus on its depiction of Scotland's Non Resident Indian (NRI) community, exploring how it uses location to negotiate their identity. I demonstrate how, although it retains an emphasis on Scotland's recognisable tourist locations, it also deploys certain locations to depict NRI identity as part of the global Indian middle class. [ABSTRACT FROM AUTHOR]

This article focuses on more recent cinematic representations of the English in Scotland, coinciding with a process of political devolution marked by the referendum of 1997 and the subsequent establishment of a Scottish parliament in 1999. The author will concentrate on two key examples, Regeneration directed by Gillies MacKinnon and The Last Great Wilderness directed by David Mackenzie. Both films feature psychologically damaged English characters whose experience in Scotland serves to heal the ruptures in their respective identities, allowing them to leave, apparently cured. This trajectory is in marked contrast to the earlier films in which the English visitor tended to be assimilated into the local community through marriage. The two films under discussion are also both part of a new Scottish cinema, developed and part-funded from Scottish sources of finance that had become available in the mid 1990s.' Regeneration is set in a World War I British military hospital in Craiglockhart, outside Edinburgh, housing British troops with psychological disabilities.

Examines the motion picture "Orphans," by Peter Mullan. Impact of current political and industrial situation in post-devolutionary period on the cinematic representation of Scottish national identity; Source of external funding for Scottish cinema production and distribution; Association of the status of the Scottish nation and the film industry with the aesthetic of "Orphans."