Biography of 'Scottish Screen Collection'

Films associated with 'Scottish Screen Collection'

Publicly funded film collection

In April 1997, the Scottish Film Council, Scottish Screen Locations, Scottish Broadcast and Film Training and the Scottish Film Production Fund merged to form the non-departmental government body Scottish Screen. Creating a 'one stop shop' for the screen industries was important and built on the momentum of success stories such as Braveheart (1995), Rob Roy (1995) and Trainspotting (1996). Scottish Screen had an ambitious remit - concerned with cultural and educational access to screen heritage as well as the business and resourcing of film-making in Scotland.

As the parent body of the Scottish Screen Archive, Scottish Screen had an obligation to preserve films funded from the public purse, particularly relevant now distribution of Lottery funds was its responsibility. Although funding arrangements existed
between its predecessor bodies and other organisations (eg. broadcasters), Scottish Screen also introduced a clause in production agreements that provided for a copy of the finished work to be deposited for archival preservation.

In 2007, the Scottish Screen Archive transferred to the National Library of Scotland, and with it, the responsibility to continue collecting film, video and born digital work. Scottish Screen transferred their former distribution collection and back catalogue to the Archive, much of which was earlier work not covered by the new arrangements. This diverse collection of modern Scottish film production now promises to grow in partnership with Creative Scotland from 2010 and far into Scotland's digital future.

The collection contains creative and factual documentary, experimental artists film, video dance, animation, comedy, horror, drama É. They include films made by people of all ages, some featuring Scottish actors 'before they were famous', and there are plenty of lesser-known titles to explore, eg. THE EVANESCENT HERB GARDEN OF DEATH (1993)

Dating from the early 1980s onwards, such works have generally been made through a variety of funding and training initiatives. Scottish Screen and its predecessor bodies ran such schemes in collaboration with partners, ensuring vital broadcast and theatrical exposure for new filmmaking talent.

First Reels (1991 - 1999), in collaboration with Scottish Television, offered small financial incentives (£50 - £2000) but more importantly, hands-on experience and exposure. The scheme proved a springboard to greater things for talent such as Peter Mullan, David Tennant and Hannah Robinson, yet supported community groups (Pilton Video, Castlemilk Elderly Forum), individual animators, dancers, students and video artists. Prime Cuts (1996 - 1998) followed, encouraging innovative films on 16mm between 5 Ð 7 min, from documentary to experimental. Graduates of this scheme include acclaimed video dance artist, Katrina McPherson and directors Morag MacKinnon, Justin Molotnikov and Elly M. Taylor. Tartan Shorts (1993 - 1996), Tartan Smalls (2002 - 2005) and the Gaelic language Geur Ghearr (1996 - 1998) - schemes working with with BBC Scotland and Comataidh Craolaidh Gaidhlig - led to short films shown on family television sets across the country, and those same titles distributed to festivals across the world. Amongst this collection is the Oscar-winning FRANZ KAFKA'S IT'S A WONDERFUL LIFE (1993), This Scotland (2002 - 2005) and New Found Land (2000 - 2004) are examples of schemes co-funded by STV and Grampian that produced a variety of productions with longer running times of up to 25 min and a strong emphasis on quality documentary.

Around 2002, a slight shift away from shorts to predominantly Scottish-funded features as well as international co-productions is evident. These range from the hard-hitting 16 YEARS OF ALCOHOL (2003), to the lighthearted STONE OF DESTINY (2008). SEACHD - INACCESSIBLE PINNACLE (2007) is the first feature film in the language of Scottish Gaelic to achieve mainstream cinematic distribution. (The archive holds deposit copies on 35mm as well as HD). International co-productions include SKAGERRAK (2004) and animated THE THREE MUSKETEERS (DE TRE MUSKATERER) (2006).

Aside from the funded schemes, there is much to enjoy. Music video 4 Minute Wonders (2001 - 2003) feature Scottish bands and record labels (Soma, Chemikal Underground). Bridging the Gap (since 2004) remains an intelligent, creative force in Scottish film-making. Scottish Students on Screen (started c. 1999) material ranges from GUID MAN OF BALLENGEICH (2001), made by schoolchildren in Stirlingshire, to COLD TAPE (2000), shown at Tate Britain. Interviews, stills, scripts, and other supporting documentation relating to the films are all kept.

There are just under 700 titles recorded to date. As well as basic content information, much of which has been taken from secondary sources (title, release date, synopsis, director, producer, production company, sponsor), full cast and credits are transcribed directly from viewing the source material. For the first time, the full scope, range and amount of Scottish publicly funded film in the last three decades has been brought together in one searchable set of data Ð with open public access worldwide.

Due to rights and conditions of deposit, viewings for research and reference are only offered on National Library of Scotland premises. Requests for a loan, to screen, duplicate or otherwise distribute material in the collection should be directed to Market Development at Scottish Screen. Permission for such uses will only be given in consultation with rights holders.

This is a work in progress - a constantly evolving collection. The growth of the collection reflects the creativity and talent of those working the screen industries in Scotland. The collection will continue to flourish in the future, with whatever new work is produced under Creative Scotland.

Missing, believed lost?
Gaps in the collection have been identified, and it would be invaluable to find this material and preserve it in the national collection. Representation of earlier work, such as First Reels, is patchy (eg. an interview with the director of a film exists on Betacam SP tape, but the 16mm completed film is nowhere to be seen!) Some films are incomplete or in poor condition and there may still be surviving material somewhere.






Researcher: Ann Cameron