Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s
In films, even contemporary ones posing alternatives to the mythic representations of Scotland, Scottish identity is often constructed as homogeneous and white. Though a small number of films have been made addressing Scotland’s white minority groups, it is not until the 2000s that filmmakers such a...
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| Format: | Article |
| Language: | English |
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University College Cork
2017-07-01
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| Series: | Alphaville: Journal of Film and Screen Media |
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| Online Access: | http://www.alphavillejournal.com/Issue13/HTML/ArticleTorricelli.html |
| _version_ | 1818538111390449664 |
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| author | Emily Torricelli |
| author_facet | Emily Torricelli |
| author_sort | Emily Torricelli |
| collection | DOAJ |
| description | In films, even contemporary ones posing alternatives to the mythic representations of Scotland, Scottish identity is often constructed as homogeneous and white. Though a small number of films have been made addressing Scotland’s white minority groups, it is not until the 2000s that filmmakers such as Ken Loach and Pratibha Parmar began to explore non-white Scottish identities. This article explores the ways the former’s Ae Fond Kiss… (2004) and the latter’s Nina’s Heavenly Delights (2006) construct hybrid, plural Scottish identities by first considering the way the two films construct these identities, and then by considering the how the identities constructed were received by film critics. Ae Fond Kiss… suggests that racial and ethnic minorities understand “Scottishness” in varied ways that are often influenced by gender, whereas, for Nina’s Heavenly Delights, race, gender, and sexuality are some of the many identities that are united in the Scottish nation. In support of the plural and hybrid Scotlands these two films construct, film critics, despite the complications of genre, strongly label both as Scottish films, which suggests they understand Scotland as a diverse or hybrid place or culture. |
| first_indexed | 2024-12-11T21:24:48Z |
| format | Article |
| id | doaj.art-70ea306362da45f2902ab0576a5525d0 |
| institution | Directory Open Access Journal |
| issn | 2009-4078 |
| language | English |
| last_indexed | 2024-12-11T21:24:48Z |
| publishDate | 2017-07-01 |
| publisher | University College Cork |
| record_format | Article |
| series | Alphaville: Journal of Film and Screen Media |
| spelling | doaj.art-70ea306362da45f2902ab0576a5525d02022-12-22T00:50:22ZengUniversity College CorkAlphaville: Journal of Film and Screen Media2009-40782017-07-011390104https://doi.org/10.33178/alpha.13.05Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000sEmily Torricellihttps://orcid.org/0000-0003-1598-6565In films, even contemporary ones posing alternatives to the mythic representations of Scotland, Scottish identity is often constructed as homogeneous and white. Though a small number of films have been made addressing Scotland’s white minority groups, it is not until the 2000s that filmmakers such as Ken Loach and Pratibha Parmar began to explore non-white Scottish identities. This article explores the ways the former’s Ae Fond Kiss… (2004) and the latter’s Nina’s Heavenly Delights (2006) construct hybrid, plural Scottish identities by first considering the way the two films construct these identities, and then by considering the how the identities constructed were received by film critics. Ae Fond Kiss… suggests that racial and ethnic minorities understand “Scottishness” in varied ways that are often influenced by gender, whereas, for Nina’s Heavenly Delights, race, gender, and sexuality are some of the many identities that are united in the Scottish nation. In support of the plural and hybrid Scotlands these two films construct, film critics, despite the complications of genre, strongly label both as Scottish films, which suggests they understand Scotland as a diverse or hybrid place or culture.http://www.alphavillejournal.com/Issue13/HTML/ArticleTorricelli.htmlmythic representationsscottish identityethnic minoritiesscottish filmcultureken loachae fond kiss…pratibha parmarnina's heavenly delightsnon-white scottish identitiesscottishnessgenderracesexualitypluralhybridscotland |
| spellingShingle | Emily Torricelli Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s Alphaville: Journal of Film and Screen Media mythic representations scottish identity ethnic minorities scottish film culture ken loach ae fond kiss… pratibha parmar nina's heavenly delights non-white scottish identities scottishness gender race sexuality plural hybrid scotland |
| title | Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s |
| title_full | Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s |
| title_fullStr | Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s |
| title_full_unstemmed | Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s |
| title_short | Multicultural Glasgow: Imagining Scotland as a space of cultural intersection in Scots-Asian films of the 2000s |
| title_sort | multicultural glasgow imagining scotland as a space of cultural intersection in scots asian films of the 2000s |
| topic | mythic representations scottish identity ethnic minorities scottish film culture ken loach ae fond kiss… pratibha parmar nina's heavenly delights non-white scottish identities scottishness gender race sexuality plural hybrid scotland |
| url | http://www.alphavillejournal.com/Issue13/HTML/ArticleTorricelli.html |
| work_keys_str_mv | AT emilytorricelli multiculturalglasgowimaginingscotlandasaspaceofculturalintersectioninscotsasianfilmsofthe2000s |