Chapter

Horror Film: History Hydes in the Highlands

David Martin-Jones

in Scotland: Global Cinema

Published by Edinburgh University Press

Published in print September 2005 | ISBN: 9780748633913
Published online March 2012 | e-ISBN: 9780748651207 | DOI: http://dx.doi.org/10.3366/edinburgh/9780748633913.003.0005
Horror Film: History Hydes in the Highlands

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This chapter deals with horror films, with a particular emphasis on two werewolf movies, Dog Soldiers (2002) and Wild Country (2005). It begins with an introduction to the relationship between Scotland and the horror film. It then analyses Dog Soldiers and its depiction of English and Scottish masculinities, its engagement with a British tradition of war movies, the myth of Tartanry, and the allegorical connotations that surround werewolves in horror movies. The ambivalence demonstrated in its treatment of Scotland as a location further illustrates the complexities raised by British films set in Scotland that aim at broader, often international markets. Dog Soldiers is contrasted with the low-budget, indigenous Scottish production Wild Country, which focuses on the local concerns of its teenage protagonists. In both films, conventions of the horror genre enable very different types of engagement with existing myths of Scotland and Scottishness.

Keywords: Scotland; Dog Soldiers; Wild Country; werewolves; horror films; war movies; masculinities; Tartanry; Scottishness

Chapter.  9417 words.  Illustrated.

Subjects: Film

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