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The Last King of Scotland and post-imperial Scottish cinema

investment from Scottish Screen (approximately £350,000 or 7 per cent of the overall budget [Scottish Screen, 2006, p. 2]) was, according to Calderwood, instrumental in protecting the Scottish content of the film in light of pressures to make a ‘more studio-type film’. Tatfilm was engaged to provide equipment as well as postproduction services, but the reasons behind the co-production also included ensuring that the film would qualify as British under UK policy guidelines (Calderwood, 2012). Though seemingly small and from a creative point of view inconsequential, this

in Scottish cinema
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number of films annually is, in the African context, quite remarkable. This situation can be traced back to 1970 when the country’s film theatres were nationalised. Borrowing from French policies for the development of its cinema, the Burkinabe government placed a tax upon all film tickets with the revenues being ploughed back into filmmaking by indigenous directors. This did not change the country’s cinematic culture

in Postcolonial African cinema
Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987)

attenborough The story of the Indian Hindu leader, Mohandas K. Gandhi, who played a major role in the country’s independence, freeing India of British colonial rule, was a complex topic for a cinema biography. Gandhi studied law in London before practising as a barrister in Bombay, moving to South Africa in 1907 where he began his policy of passive resistance against the government’s racist policies towards Indians. In 1915 he returned to India and became leader of the Congress movement. Gandhi was imprisoned on several occasions for his political stance and also resorted to

in Richard Attenborough

Arabic or other African languages, were practically non-existent on the French screen. When they began to appear in notable proportions from 1985 onwards, they were invariably represented as disadvantaging and problematic for their speakers. In these and many other ways, the multilingual films of the twentieth century sit in stark contrast to the more socially progressive representations of multilingualism that characterise the French cinema of the contemporary period. Nonetheless, multilingual cinema still has a long history in France. Languages other than French have

in Decentring France
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Surveying Scottish cinema, 1979 –present

, reception or aesthetic and representational make-up. Indeed, far from it. All of the case studies assembled here provide insights into the relationships between Scottish film culture and the film cultures of other nations, including the larger UK, Europe, America and Africa among other places and a major task for this book will be to account for these larger relationships. That said we can return to the tripartite criteria I set out above. Some films selected for discussion here are distinguished in all three areas of popular success, critical acclaim and the attention of

in Scottish cinema
Material geographies of filmmaking and the rural

filmmaking (despite a reversal of policy in 1987–93). The particular use of tax incentives has made Ireland renowned for its location shooting; a notable big-budget Hollywood film shot there was Braveheart (Mel Gibson, 1995). 4 While there is a small and vibrant low-budget filmmaking community, major films simply use Ireland as a location shoot. Similar stories can be found in

in Cinematic countrysides

controversial social themes and marginalised protagonists in their films from a relatively privileged socio-economic position. Just as Kassovitz was accused in La Haine of profiting from the malaise of the banlieue (see Chapter 2 ), so Spike Lee, who is from a liberal, middle-class African-American background – the son of a schoolteacher and a jazz-musician, educated at Morehouse

in Mathieu Kassovitz
Wildlife documentaries on television

human–animal relations that the rapid rates of species extinction and widespread animal cruelty reveals [sic]. But the central question here is whether they are correct to imply that the multiplication of the animal image is, ultimately, not just a symptom but a contributory factor to this process.’ Burt, Animals in Film, pp. 27–9. Mitman draws historical links between developments in animal photography and filming for the US market, internationally-oriented conservationist discourses and policies in the US, and the burgeoning tourist trade, selling Africa as a

in Watching the world
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The limits of radicalism

, and exhibition – the dominant role of Universal Pictures in the marketing and distribution of Children of Men in the theatres, and on DVD and Blu-ray by Universal Home Entertainment, assures its position in the international market. The hands-on production work was carried out by two smaller companies, US-based Strike Entertainment Production, and the UK-based company Hit and Run Productions. Hilary Shor, the co-founder of Hit and Run, had brought the rights to the P. D. James novel The Children Three Amigos.indb 202 1/4/2013 1:02:04 PM Children of Men 203 of

in The three amigos

–62) – he calls the state’s position on both these matters an attempt to repress the repressions that resulted – as well as in the confusions and inconsistencies of a language policy which sought to expunge French from everyday use amongst the subordinate classes but kept it alive among the elites (Bourdieu 1997 : 22). The complex inter relation of Arabic and French informs the very name of the territory, since the French term l

in Algerian national cinema