The Creative Industries and Scottish Film.
With its exquisite landscapes, monumental architecture, and breath-taking coastlines, it is no wonder Scotland has always been such a powerful draw to film makers and producers alike.
The Scottish film industry has grown from strength to strength in recent years. Arguably putting itself on the map in the nineties with films such as Braveheart (1995) and Trainspotting (1996), Scotland now lends its locations to multimillion-pound productions such as Skyfall (2012), The Dark Knight Rises (2012), Sunshine on Leith (2013) and The Railway Man (2014) as well as TV productions including Game of Thrones (2011) and Outlander (2014). To what extent have Scottish films such as Braveheart and Trainspotting impacted on the tourism industry and given their contrasting portrayals of the Scots, does one hinder tourism more than the other? Can we say whether or not there is a distinct notion of ‘Scottish national identity’ and if such a concept exists to what level is it illustrated in Scottish film? Has the Scottish film industry had an impact on the political landscape in Scotland since it was devolved in 1998? Finally given the effects of Scottish film in Scotland, what has the government put in place in order to develop the industry further?
Scotland has produced many world renowned films over the last two decades and has had a large impact on the creative industries in Scotland. It has long retained a certain romance which frequently appeals to both UK and global audiences, no film more so than Hollywood release Braveheart. Released in 1995 the film tells the story of Scottish hero William Wallace, a 13th century warrior who revolts against his tyrannical English overload. It has since been credited for rousing deep patriotism amongst the Scottish diaspora and those still remaining within the country. So popular was the film that tourists from across the globe flooded to Scotland to get a sense of the Braveheart magic. This influx of tourists has since been dubbed the ‘Braveheart Effect’ as a year after the film's release the Scottish Tourism Board announced and increase tourist revenue from £7 million the year before to £15 million the following year. Indeed in research taken of visitors to the Stirling area suggest that 39% of visitors who had seen the film had said it partly informed their decision to visit the area and 19% had said it was one of the main reasons for their visit.
One of the most interesting factors of Braveheart on the Scottish creative economy is that despite the stereotypical representation of Scot’s at the time, the film was made as a Hollywood blockbuster by an American studio, the main character is an Australian and many of the scenes in the film are shot in Ireland. Throughout the film there are very little shots of any particularly familiar tourist destinations, however despite this it appears that tourists still wanted to visit the places that were mentioned rather than destinations that were pictured. To this effect, the Scottish Tourist Board latched onto the film and used the films Hollywood marketing campaign as its own, using scenes within the film on their own posters. Perhaps one of the largest success stories of the film and the creative economy is the rise in visitors to the Wallace Monument in Stirling. The monument itself was constructed in 1869 after years of local debate as to where it should be placed. A site was chosen for its views over the location of the Battle of Stirling Bridge and its views up to the castle. On completion the monument was ‘leased to private individuals living on site’ and as with so many privatised public attractions it was never a success. By the 1990’s however responsibility for the monument was taken over by the local council, it wasn’t until the release of Braveheart in 1995 that the monument ‘took on true iconic tourism status and turned a profit.’ By the following year a statue of Wallace was erected in the car park near the monument and bared a striking resemblance to Mel Gibson and rapidly became the most photographed place within the attraction. In the official book which is available at the visitor centre, the author Elspeth King explains the reason for the choice in depicting the national hero with the face of a modern day actor as ‘in the late 20th century, the face of William Wallace, known and recognised worldwide, is that of Mel Gibson from the film Braveheart.’
Despite the fact that Braveheart has very little to do with Scotland in terms of its creation, actors and locations it still paints an image of the Scots that ‘fits in with the Scottish Tourism Board’s image for its overseas markets.’ It should be stated that just because a film has the right characteristics and potential for increased tourism it does not guarantee success and indeed it may not conform with the ‘strategic objectives set by a destination agency.’ While this shortbread tin image of the Scots may appeal to those who visit from outside the UK, it is not to say that it is the only draw to tourists, in fact the complete reversal of this image of the Scots in films such as Trainspotting have also contributed to the tourist industries and creative economy alike. On its release, Trainspotting which was funded by Channel Four, which was heavily criticised for showing Edinburgh life in a bad light, however even after 20 years Corrour train station in the Highlands still receives hundreds of visitors a year, despite being Britain’s most remote station. In Edinburgh too Trainspotting still attracts visitors to the city and for £8 per person, tour groups are lead around Leith and the surrounding areas so that visitors can visit the grittier side of Edinburgh. The irony is that with so many visitors flocking to see the locations in the film and contributing to the local economy many of the iconic landmarks have since been redeveloped and tidied up. In an article in the times one of the Trainspotting tour guides points out that he has now had to start ‘planning a tour featuring the surviving places of interest, and is scouring the novel for references to landmarks.’ Despite this regeneration, the film still does not sit well with Scottish Tourist Board, a spokesman was quoted as saying ‘the image of Edinburgh portrayed in Trainspotting is not one we would wish to focus on.’ The idea that the tourism board would be selective in what it would actively support despite the economic input that Scotland would receive is an interesting concept. By selecting one type of film over the other suggests that the tourism board is actively encouraging a particular view of its culture and people but is there a typical ‘Scottish identity’ that can be show to the rest of the world in order to encourage higher tourism figures.
The idea of Scottish identity is a much debated topic and often proves a fairly elusive concept in pinning down. What exactly do we mean by ‘Scottish Identity’ particularly in reference to film? Is there a definitive Scottish film and are films such as Trainspotting representative of this Scottish identity? The answer, as with so many to these types of questions is a mixture of both yes and no. The Oxford Dictionaries define ‘national identity’ as being the overall sense of a nation and one that is ‘represented by distinctive traditions, culture, and language.’ When examining this definition however it omits the fact that in such modern times, cultures, traditions and languages change and evolve rapidly making the task of pinning down a particularly Scottish identity extremely difficult. There has been much academic debate over the topic and the theories surrounding it have also changed as Scottish cinema becomes more prolific.
Over the history of Scottish film two very distinct images of the Scots have been pictured. Earlier films such as Brigadoon (1954) and even up to Braveheart have pictured the Scots in a stereotypical tartan wearing, bagpipe playing peoples who live in small communities amongst stunning mountainous scenery. However by the late 1990’s a New Scottish Cinema was born, this new concept no longer showed the Scots in such a pastoral light but instead focused on the issues of how the Scots were living their lives at the present. This modernisation of the Scottish image does not go far enough to highlight any of the issues that surround Scottish identity. Films such as Trainspotting do a lot for this emergent idea of a new Scottish identity. While films such as Brigadoon focus on the kailyard aspect of rural Scottish life, Trainspotting arguable focuses more on the ‘urban and contemporary Scotland.’ The film however goes further and on closer analysis highlights what it means to be Scottish in today’s society.
Trainspotting tells the story of Renton, a heroin addict that is trying to become clean whilst trying to escape the negative influences of his friends. While the opening scene begins with Renton being chased down Edinburgh’s famous Princes Street, many of the usual tourist landmarks are not shot suggesting that the monuments have very little connection to the characters and their lifestyles. The film however does maintain its Scottishness by the use of the broad and regional accents in which the characters speak, indeed in the nightclub scene the majority of the conversation is subtitled, highlighting how difficult it can be to understand a real Scottish accent to non-Scottish audiences. Perhaps the use of a strong Scottish accent and the use of subtitles is an attack on the films that have come before it as these previous films had no intention of displaying what it meant to be Scottish but more to conform to international stereotypes or a ‘Scotland-lite’ that had so frequently be used before.
Perhaps the clearest illustration of this modern view of Scottishness, is best highlighted in the scene shot in the Highlands. Here Renton and his friends have taken a trip to Corrur train station. There they stand in front of the familiar beautiful untamed Scottish landscape a scene that so many previous Scottish films had used before. What makes this scene different to previous depictions of Scotland is Renton’s rejection of this ‘official’ Scotland.
‘Tommy: Doesn’t it make you proud to be Scottish?
Renton: It’s shite being Scottish. We’re the lowest of the low; the scum o’ the fuckin’ earth. The most wretched, miserable, servile, pathetic trash that was ever shat into civilisation. Some people hate the English – I don’t, they’re just wankers. We on the other hand were colonised by wankers; can’t even find a decent culture to be colonised by. We’re ruled by effete arseholes; it’s a shite state of affairs to be in, Tommy, and all the fresh air in the world won’t make any fuckin’ difference.’
This rejection is perhaps the key to the understanding of how New Scottish cinema differs from the films that had come before it, highlighting how the traditional representation of the ‘Scottish identity’ is no longer a valid portrayal. This is to go as far to say as Scotland is no longer the pastoral country that so many international audiences see but instead is trying to develop into a modern and urban environment. Indeed the majority of Scots are now so far removed from their early traditions and stereotypes that this disconnection from the view of ‘official Scotland’ is made clear by spuds observation that the landscape is ‘unnatural’ and Tommy’s suggestion that they go for a walk (‘are you serious?’). While these views on Scotland can be seen as national issues, the ideas as presented could easily have been presented anywhere, or as Martin McLoone describes Trainspotting as being set ‘anywhere-but-Edinburgh’.
The idea of ‘anywhere-but-Edinburgh’ or indeed Scotland, may serve to simply reduce Scotland into a mere location for an otherwise unrelated story however Sarah Street argues that ‘Scotland as a narrative setting is less important than its function as place to be left’ and this notion appears to be a common theme in Trainspotting and other Scottish titles. For example in Trainspotting Renton both physically leaves Scotland to take a job in London but also leaves Scotland through his heroin addiction. This is not to say that this Scotland-as-background denies Scotland its own relevance to its nation but can be celebrated for both accepting issues that cross boundaries but also accepting the relevance to the nation in which it was set. It would certainly be advantageous to not think of Scottish cinema in terms of “anywhere-but-Scotland” but as Simon Brown argues ‘anywhere and Scotland’ as this would allow easier comparisons and discussions about other films whether national or international.
While Scottish film has contributed to both cultural issues such as tourism and social issues such as national identity, the next stage is to examine the effect of Scottish film on the political spectrum in Scotland. While films such as Trainspotting seek to provide a more realistic and contemporary view of Scottish sentiment, other productions such as Braveheart and TV series Outlander have a strong nationalistic sense about them. Braveheart as mentioned earlier tells the story of a Scottish hero standing up to his English oppressors, Outlander too tells the story of a group of Scots and a time travelling English woman’s quest to escape the tyranny of their Southern rivals and both focus on a nationalistic sense of pride. Both productions were released (or not released) around a time of nationalistic pride and distrust in the politics of Westminster.
By 1997 Scotland had completely lost trust in the Westminster governance having been under conservative rule since 1979, the lack of trust ended with no Conservative MP being seated in Scotland. Clearly there was a great feeling of discontent within Scotland and conveniently around exactly the same time came the release of Braveheart. While the film is almost entirely the fantasy of an American writer based loosely on the account told by Blind Harry it was exactly what Scottish Nationalists were looking for. The film reignited talks on two of the most discussed discourses in the western world, ‘nationalism and populism’ and as Colin McArthur goes on to explain ‘the key terms of Braveheart’s rhetoric – ‘Scotland’, ‘Freedom’ and ‘the people’ – are empty vessels into which can be poured the most noxious of contents.’ The SNP jumped at this golden opportunity in which to capitalise on anti-English sentiment by making a fictional enemy and blaming them for the downfalls of Scotland. That year the SNP won more votes than ever by using the films morality and its appropriateness for influencing the voter’s decisions. This is perhaps one of the most worrying traits of films influence especially given the historical aspect of the subject matter. Using history as a vehicle for interpretation is a dangerous one and has often been used in political uprisings as the evidence is easily interpreted as the writer or film maker wishes. Braveheart was never meant to be an accurate account of a 13th century hero. Instead its creation was down to pique in interest in the writer upon visiting Stirling on a holiday and was always intended to be a work of entertainment and nothing more. Indeed one of the most famous of writers on the Braveheart phenomenon Lin Anderson has been quoted as saying in an interview with the Sunday Herald “Without a doubt, Braveheart contributed to the political movement within Scotland, although I am not saying devolution would not have happened without it.” Perhaps it was merely coincidental that that the film was released around a similar time to talks of devolution and perhaps the film was only taken up by voters who were looking for something in which to add credence to their ideas. Either way it almost impossible to comprehend fully the influence it had so long after the fact.
Clearly though, Braveheart has left a mark in the political world which is not easily forgotten. Almost fifteen years later the ideas of Scottish independence reared its head once more. According to Christopher Hooton of the Scottish Independent sales of Braveheart rocketed in the months leading up the independence referendum of 2014 jumping from ‘1074th to 454th place’ in the Amazon DVD charts. However it was not just Braveheart that featured in the Independence referendum, a new TV series Outlander which is based on novels written by Diana Gabaldon about the Jacobite uprisings of 1745 also made the headlines. The highly anticipated series had already been shown on American TV in 2013. The program was delayed for UK release and ten weeks before the referendum was due, David Cameron went for talks with Sony pictures about it release. This meeting became the subject of much speculation as to whether or not it was related to the upcoming vote but no official comments were released from either side. It was not until Sony Pictures email accounts were hacked that an email between Sony executives and David Cameron were leaked by whistle blowing website Wikileaks. In an article published in The International Business Times, the content of the email was quoted as saying ‘From a SPE [Sony Pictures Entertainment] perspective, your meeting with Prime Minister Cameron on Monday will likely focus on our overall investment in the UK...... the importance of OUTLANDER (i.e., particularly vis-à-vis the political issues in the UK as Scotland contemplates detachment this Fall).’ This sort of communication goes to show just how influential film and TV about particular cultural aspects can be on the political landscape.
Given the impact films such as Braveheart and Trainspotting have had on culture, Scottish identity and its influence on the political landscape it is little surprise that the Scottish Government made steps in which to boost this burgeoning economy.
Since Scotland’s devolution in 1998, the Scottish Government has placed a great focus on its creative economies and those who work in these sectors. Over the last decade, on average, 22 feature films have been shot in Scotland each year, increasing location spending to around £23 million – £28 million annually. Scotland has more than 80 production companies, 300 facilities (such as locations, and editing and dubbing suites), and a skilled and most importantly friendly crew base. All of these factors have contributed to the growth of the film sector within Scotland over the past twenty years.
Initially when Scotland became devolved under the Scotland Act 2008, the creative economy was the joint remit of both the Scottish Arts Council and Scottish Screen. These two bodies were put in place to help with ‘funding, development and advocacy of the arts in Scotland’ with Scottish Screen additionally driving an integrated screen policy in Scotland.
The Scottish Governments recognition of the creative economies importance to Scotland is evident in the creation of Creative Scotland in 2010 and under the 2010 Public Service Reform Act (Scotland), this new body was created to merge the work of both the Scottish Arts Council and Screen Scotland.
Creative Scotland has outlined its key functions under section 37 of the Reform Act (Scotland) as being.
‘(a) Identifying, supporting and developing quality and excellence in the arts and culture from those engaged in artistic and other creative endeavours,
(b) Promoting understanding, appreciation and enjoyment of the arts and culture,
(c) Encouraging as many people as possible to access and participate in the arts and culture,
(d) Realising, as far as reasonably practicable to do so, the value and benefits (in particular, the national and international value and benefits) of the arts and culture,
(e) Encouraging and supporting artistic and other creative endeavours which contribute to an understanding of Scotland's national culture in its broad sense as a way of life,
(f) Promoting and supporting industries and other commercial activity the primary focus of which is the application of creative skills.’
Since the establishment of Creative Scotland, it has been reported that the arts and creative industry in Scotland generated 130,000 jobs and £12.46 billion – making it one of the largest and highest grossing sectors in the Scottish economy. But it is not only Creative Scotland that contributes to Scotland’s creative industries. On 5 February 2009 the Scottish Government produced a document entitled, Support for Creative Industries: Roles and Responsibilities – Core Script. The document outlines the responsibilities that each body, The Scottish Government, Creative Scotland and its delivery agencies must take in order to help the sector prosper and maximise its contribution to Scotland’s economic growth. It contains two key groups, the Scottish Government and its Delivery Agencies, the latter being further divided into four sub-sections.
The first key group, the Scottish Government, will assume the role of leadership for the creative industries. They will be tasked with laying out the overall direction of the industry as well as focusing on improving areas in order to deliver the government’s aim of increased growth and productivity. It will also be responsible deciding which bodies with support the creative industries.
The second key group, the Delivery Agencies, are divided into four distinct but complementary roles. * Creative Scotland, as mentioned earlier will be to provide research, intelligence and advocacy across the 12 creative industries. * The Enterprise agencies role will be to identify develop growth sectors, sub-sectors and businesses and to maximise the economic potential of businesses within creative industries. * Local Authorities will support creative industries in their area and are responsible for the governance of the business gateway. * The Business Gateway’s role with be to provide generic business advice and signpost to other sources of specialised support and advice.

In order for Scotland to provide a quality film industry, the Scottish Government and wider public sector receives substantial financial support. For example in 2012 – 2013, almost £21 million was invested in production, education and training, and support to festivals and venues that screen these films. The breakdown of which looks something like this:
Creative Scotland £7,813,987
Creative Skillset £450,861
(UK-wide strategic skills body that works with employers, individuals, trade associations, unions, learning and training providers, government and its public agencies and other key organisations to ensure that the UK's creative industries have continued access now, and in the future, to the skills and talent they require.)
Event Scotland, £90,000
(Provides funding to and has developed an exciting portfolio of sporting and cultural events in order to raise Scotland’s international profile and boost the economy by attracting more tourists.)
Film G (Gaelic Film Fund) £30,000
(A group set up to fund and promote Gaelic film production in Scotland, supporting the work of youth groups and non professional film makers.)
MG Alba £11,800,000
(MG Alba is the operating name of the Gaelic Media Service. The organisation's remit, under the Communications Act 2003, is to ensure that a wide and diverse range of high quality Gaelic programmes is made available to persons in Scotland.
Scottish Enterprise £659,171
(Scottish Enterprise is a sponsored non-departmental public body of the Scottish Government which encourages economic development, enterprise, innovation and investment in business.)
SG Expo Fund £150,000
(The Edinburgh Festivals Expo Fund was established in 2007 to help maintain the global competitive edge of the festivals, to increase funding available to Scottish-based artists and practitioners and to encourage creative collaborations.
Total: £20,994,019
While these figures may seem reasonable at first glance, Scotland is still lagging behind its UK competitors in terms of funding and such a reduction has led to less films being produced in Scotland and subsequently fewer employment opportunities. The Scottish Government in an annual report on the economic impact of the film, TV, and video game industries suggests that ‘public bodies target their funding and provide incentives to encourage more private sector investment.’ With private investment being able to provide a greater source of finance as compared to that of the government funding.
While funding provides a good backbone to the film industry in Scotland it is not the only incentive given to promote film in Scotland. The UK Government has also put in place tax incentives to encourage global film production companies to come to the UK. The Finance Act 2006 introduced a Film Tax Credit. This tax credit is set against corporation tax, which allows production companies to claim a payable cash rebate of up to 25% of the qualifying UK film production expenditure for films costing £20 million or less. Any productions that cost more than this figure will receive 25% rebate up to the first £20 million and 20% thereafter. This credit can only be claimed on 80% of the total qualifying expenditure. This works out at roughly 16% of the production costs.
However, as with most tax credit models, some stipulations must be made. Each film must * Be made by a qualifying UK film production company * Be intended for theatrical release * Qualify as a ‘British Film’ via the cultural test, as set out in the Films Act 1985, administered by the British Film Institute or under one of the UK’s film coproduction treaties * Meet the minimum UK core expenditure requirement of 10%

These tax incentives have helped the wider UK film industry to compete internationally, and the evidence suggests that for every £1 spent there is a £12 benefit in terms of GDP. A report in the British Film Institute’s Statistical Yearbook 2014, found that the principle sources of funding 2012 – 2013 were 57% production tax relief, the National Lottery (18%) and grant in aid (8%) from the Department of Culture, Media and Sport (DCMS).
There are, however, a few issues in Scotland surrounding some of the funding it receives. Arabella Page Croft, a Glasgow film producer and Scottish Government advisor illustrates the gap in funding in Scotland as compared to England and Wales stating that;
‘In Scotland we have £3.5 million for production development. Yorkshire has £15 million and Wales has £30 million......Northern Ireland has nearly £11 million. Northern Ireland can invest up to £800,000 into productions. Creative Scotland can invest up to £500,000 but it only has £3.5 million for the whole year.’
Direct funding from the government is not all that shapes the Scottish film industry into the creative industries mould; public sector support also goes someway in defining the sector. Both Scottish Enterprise and Creative Scotland are bound to co-ordinate their support to balance the cultural and commercial needs of the film industry. Unfortunately, this relationship is not without its issues. Scottish Enterprise was set up to deal with business interactions and Creative Scotland to oversee the arts sector – neither body has a fundamental understanding of what the other does. This conflict creates obvious difficulties. With two organisations each heading up its own field, there is currently no clear leader when the two try to organise any sort of support for the film industry. When giving evidence to the Economy, Energy and Tourism Committee in 2015, the Chief Executive of Creative Scotland, Janet Archer, recognised its difficulty in engaging with other public bodies. However, she noted that the body had ‘recently undergone a reorganisation exercise’ with the ‘appointment of directors for specific sector, including film.’ The aim of this reorganisation was to strengthen Creative Scotland’s ability ‘to negotiate and generate relationships that we need across the public and private sectors.’
The Scottish film and its creative economies is a broad and dense subject in which to study and contains a wealth of discussions both socially, politically and culturally. Scotland has always been a draw to tourists from all over the world and its film industry has served to further cement that reputation, whether the attraction is the Scottish personality or the locations within its shores. The Scottish film industry has also served to highlight what it means to be Scottish both within a national and international context. Scottish identity has changed so much over the last two decades and its films often try to contextualise how that relationship works both as a standalone country and as part of the United Kingdom. Scottish films have also had significant influence on Scotland’s political landscape and it has been widely acknowledged that films such as Braveheart and Outlander have both contributed to the changing political attitudes in the country. Finally with Scottish film holding so much influence over so many aspects of Scottish life it is important to understand what has been created since the release of such film in order to further maintain and indeed boost the output of such an important industry.

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[ 1 ]. David Martin-Jones, Global Cinema (Edinburgh: Edinburgh University Press, 2009). p. 14.
[ 2 ]. Rory MacLellan and Ronnie Smith, Tourism In Scotland (London: International Thomson Business Press, 1998). p. 230.
[ 3 ]. Sue Beeton, Film-Induced Tourism (Clevedon: Channel View Publications, 2005). P.58
[ 4 ]. Elspeth King, Introducing William Wallace (Fort William: Published for the Scottish Collection by Firtree Pub., 1997). p.13
[ 5 ]. Sue Beeton, Film-Induced Tourism (Clevedon: Channel View Publications, 2005). P.60
[ 6 ]. Ibid
[ 7 ]. Auslan Cramb, "Cleaner City Derails 'Trainspotting' Tour", Telegraph.co.uk, 2004 [accessed 2 January 2016].
[ 8 ]. ibid
[ 9 ]. Oxforddictionaries.com, "National Identity - Definition Of National Identity In English From The Oxford Dictionary", 2016 [accessed 20 December 2015].
[ 10 ]. Nick Redfern, "Trainspotting (Danny Boyle, 1996)", Research into film, 2010 [accessed 18 December 2015].
[ 11 ]. Ibid.
[ 12 ]. ibid
[ 13 ]. Simon Brown, "Anywhere But Scotland?” Transnationalism And New Scottish Cinema", International Journal of Scottish Theatre and Screen, 4 (2011) [accessed 9 January 2016].
[ 14 ]. Sarah Street, “New Scottish Cinema as Trans-national Cinema” in Jonathan Murray, Fidelma Farley and Rod Stoneman, Scottish Cinema Now (Newcastle upon Tyne: Cambridge Scholars, 2009). P.143
[ 15 ]. Simon Brown, "Anywhere But Scotland?” Transnationalism And New Scottish Cinema", International Journal of Scottish Theatre and Screen, 4 (2011) [accessed 9 January 2016].
[ 16 ]. Colin McArthur, Brigadoon, Braveheart, And The Scots (London: I.B. Tauris, 2003). P.151
[ 17 ]. Senay Boztas, "Wallace Movie ‘Helped Scots Get Devolution’", The Sunday Herald, 2005.
[ 18 ]. Christopher Hooton, "Scottish Independence Referendum Leads To Surge In Sales Of Braveheart", The Scottish Independent, 2014 [accessed 5 January 2016].
[ 19 ]. Ewan Palmer, "David Cameron V Outlander: PM Met With Sony Execs To Stop Scottish Rebel Drama Before Referendum Vote", The International Business Times, 2015 [accessed 3 January 2016].
[ 20 ]. Scottisharts.org.uk, "Scottish Arts Council - Who We Are", 2016 [accessed 2 October 2015].
[ 21 ]. Public Service Reform Act (Scotland) 2010, section 37
[ 22 ]. Scottish.parliament.uk, "Economic Impact Of Scotland’s Creative Industries To Be Examined - News & Parliament TV : Scottish Parliament", 2014 [accessed 5 October 2015].
[ 23 ]. The Scottish Government, Scotland's Future On Screen: Support For The Screen Sector In An Independent Scotland (Edinburgh: The Scottish Government, 2014), p. 4
[ 24 ]. Economy, Energy and Tourism Committee, The Economic Impact Of The Film, TV And Video Game Industries, 4Th Report, Session 4 (2015 (Edinburgh: APS Group Scotland, 2015), p. 19.
[ 25 ]. The Scottish Government, Scotland's Future On Screen: Support For The Screen Sector In An Independent Scotland (Edinburgh: The Scottish Government, 2014), p.5.
[ 26 ]. Economy, Energy and Tourism Committee, The Economic Impact Of The Film, TV And Video Game Industries, 4Th Report, Session 4 (2015 (Edinburgh: APS Group Scotland, 2015), p. 20.
[ 27 ]. Ibid p.23