“It would be tedious to relate the Gradgrindian detail - economic, social and cultural (in the anthropological sense) - with which Scottish Screen implemented its industrial model during the thirteen years of its existence between 1997 and 2010. Collectively, the Scottish Screen website's policy guidelines and application forms for its innumerable schemes at every level of production and training constituted a manual for how to crush the life out of a creative project.” CreativityPolicyManualScottish FilmApplication FormsScottish Screen Book:Scottish Cinema Now Source: Scottish Cinema Now
“Scottish film culture - or, more accurately, its discrete sections - has been highly politicised in the past. The problem has been the nature of the politics in question. Take Scottish filmmaking as example. On one hand, Scottish film workers have presented a picture of individualist effort which would gladden the heart of Margaret Thatcher and which, theoretically at any rate, should have produced a great variety of films of very diverse aesthetic and, therefore, political tendencies. On the other, however, these same film workers were forced to compete with each other for limited funds disbursed by a few key Scottish institutions of patronage, the powerful voices of which, historically, have been extremely reactionary. Small wonder, then, that Scottish films critical of established aesthetic forms, cultural atitudes and political arrangements have been the exception rather than the rule.” FilmmakingAestheticsPatronageScottish Film Book:Cinema, Culture, Scotland: Selected Essays Source: Cinema, Culture, Scotland: Selected Essays