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Glasgow Corporation had been sponsoring films for almost twenty years when in 1938 its Public Health Department commissioned seven silent films. This marked new relations between the Corporation and the emerging Scottish documentary film movement and a change of approach towards the films’ audiences and the city itself. The essay traces the Corporation‘s film sponsorship from the late 1930s to 1978 when the final images of Glasgow‘s Progress, the Corporation‘s last sponsored film - on its urban renewal projects were taken. By then the Corporation had been amalgamated into Strathclyde Regional Council, the century-long social project of reform had come to an end and television had made its own documentary impact. It argues that over time Corporation films served a variety of political and institutional purposes and often prefigured the fortunes of the city and its people.
This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.
MUP FINAL PROOF – <STAGE>, 07/29/2013, SPi 3 Graft in Glasgow and Labour’s ascendancy 1933–68 In aristocratic governments, those who are placed at the head of affairs are rich men, who are desirous only of power. In democracies, statesmen are poor and have their fortunes to make. The consequence is that in aristocratic states the rulers are rarely accessible to corruption and have little craving for money, while the reverse is the case in democratic nations. Alexis de Tocqueville, Democracy in America (1835)1 Before the First World War, Glasgow was ruled if
3 Glasgow: the Old Firm Introduction The Glaswegian derby between the Celtic and Rangers Football Clubs, collectively known as the Old Firm, has become one of the most commented on football games on the planet. Yet, the Old Firm is anything but a world-class sporting event. Indeed, the Scottish league is a comparatively weak one. In 2010, it is ranked 16th in Europe by UEFA1 and, apart from Celtic losing the final of the UEFA Cup in 2003, none of the two Glaswegian teams have had any remarkable success at the European level since the 1970s. Although both are
3 Re-sexing religion in suburban Glasgow I n June 1903, Bella and Charles Pearce played host to an American couple at ‘Nithsdale’, their large stone villa in the middle-class Glasgow suburb of Langside. The man was Thomas Lake Harris, an imposing, eighty-year-old Christian mystic and the spiritual leader of the Brotherhood of the New Life, a millenarian organisation behind two utopian communities in New York state and California. The woman was Jane Lee Waring, a seventy-three-year-old heiress, originally from New York City, who had joined the Brotherhood in her
This article examines Denise Mina‘s treatment of Scottish identity and the gothic tradition in her run on Hellblazer, an American horror comic about an English occultist, John Constantine. Mina takes Constantine to Glasgow to confront the deadly “empathy plague” which forces victims to emphasise with others. Mina argues that the Scots revel in the misery of others, making them easy victims for this malady. However, this failing becomes a means for victory, as everyone is united in an outpouring of shameful joy at the story‘s conclusion. Mina‘s Scotland is a home away from home for Constantine – haunted, embittered and lost – and her image of Scotland mirrors representations seen in other Scottish Gothic texts.
This essay announces the discovery of ten performances of Horace Walpole‘s five-act tragedy, The Mysterious Mother (1768) in May 1821 at The Surrey Theatre, St Georges Fields, London, then under the management of Thomas John Dibdin (1771–1841). It was produced as Narbonne Castle: Or, The Mysterious Mother and billed as founded on a Tragic Play written by the late HORACE WALPOLE, EARL OF ORFORD, and now presented for the FIRST TIME. It has long been assumed there was no public performance until the Glasgow Citizens Theatre production of 2001. The essay demonstrates theatre licensing conditions forced Dibdin to produce Narbonne Castle as a three-act, musicalized, redaction. With audiences totalling in excess of 16,000, its production raises many questions about contemporary attitudes to incest.
Edgar Wood and Middleton are closely entwined. Until his fifties, Wood engaged in the life of his native town, while his architecture gradually enriched its heritage. The paper begins with Woods character and gives an insight into his wider modus operandi with regard to fellow practitioners. A stylistic appraisal of his surviving Middleton area buildings draws attention to his individual development of Arts and Crafts architecture, a pinnacle of which was Long Street Methodist Church and Schools. The impact of J. Henry Sellers is examined, and the emergence of their subsequent modernism is traced through a number of pioneering designs. Stylistic connections with Charles Rennie Mackintosh of Glasgow and the Viennese architect Josef Hoffmann imply that Woods experiments were sometimes part of a wider stylistic development. Finally, a small cluster of Middleton houses summarizes Woods architectural journey, illustrating his incremental transition from Arts and Crafts to early Modern Movement architecture.
Poder Americano ( Rio de Janeiro : Editora Record ), pp. 173 – 277 . The Holy Bible, King James Version ( 1991 ) ( Glasgow : Harper Collins ). The White House ( 2017 ), National Security Strategy of the United States of America 2017 ( Washington : The White House ).
This book explores, from a variety of critical perspectives, the playwright's place in Scotland and the place of Scotland in his work. The influence of Scotland on William Shakespeare's writing, and later on his reception, is set alongside the dramatic effects that Shakespeare's work had on the development of Scottish literature. The Shakespeare's work of Scottish literature stretches from the Globe to globalisation, and from Captain Jamy and King James to radical productions at the Citizens' Theatre in Glasgow. Shakespeare have strong Scottish connections by virtue of his theatre company's being brought under the sponsorship of the Scottish king James VI immediately after his accession to the English throne in 1603. Jonathan Goldberg and Alvin Kernan have traced the impact of royal patronage on Shakespeare's work after the Union, finding Scottish themes at play not just in Macbeth, but also in Cymbeline, King Lear, Hamlet, and in other plays. Then, the book outlines some of the issues and problems raised by Scotland and Scottish history for English readers in the last decade of Elizabeth's reign. Shakespeare wrote his English plays in Elizabeth's reign and his British plays after 1603, though Henry V, first performed in 1599, might be regarded as a proto-British play. Unlike Henry V, Shakespeare's most English play, where national identity is of the essence, in Macbeth, Scotland is a blot on the landscape. Shakespeare's political drama moves from a sense of England and Scotland as independent kingdoms into an alignment with the views of Unionist King James.