The Major Minor Cinema: the Highlands and Islands Film Guild (1946-71)

该提案的重点是1946年至1971年间，高地和岛屿上孤立的、宗教保守的、语言独特的、经济脆弱的社区与电影的接触。这种接触分裂了社区，威胁到盖尔语，而且令人担心的是，它助长了年轻人向外迁移的愿望。该项目试图在经历过这种情况的一代人灭绝之前详细探索这一点。高地和岛屿电影协会的成立延续了苏格兰电影委员会战前的倡议，即通过不合标准的16毫米规格向农村地区提供非商业电影。这种情况在第二次世界大战期间通过新闻部和疏散电影计划继续下去。电影协会的提议是为了应对人口减少，改善偏远社区的休闲设施，形成更广泛的经济和文化倡议的一部分，以加强社区活动、凝聚力和娱乐。这是苏格兰电影史上一个被广泛记住但仍未被书写的部分，从电视出现之前一直延伸到它早期渗透到这些地区。这项服务通常是由旅行的经营者在当地社区的协助下亲自提供的，地点在不是为电影放映而建造的村庄或学校大厅等地方。在运营商、放映机和观众共享的空间中进行本地化的放映，产生了一种不同的观影体验，这种体验反映在对它的深刻感受和记忆中。当前的国际电影史转向其他电影院，突显了对电影在哪里和什么曾经存在的询问的地理变化。考虑到苏格兰的地理位置，电影协会的历史为这项研究增添了独特的贡献。该研究将从当地社区反应（大众记忆）、学校、教堂和第三部门机构、地方当局和苏格兰办事处（包括苏格兰教育部、家庭和卫生部以及高地和岛屿发展局）等方面考察公会的运作。它将结合档案、口头和创造性研究，通过一系列的案例研究，建立农村电影的历史记录。该项目将在每次研究之前在当地媒体上进行宣传。国家和地方档案研究将调查该组织如何提供和管理其影院服务。苏格兰国家档案馆将提供节目安排、发行和展览、推广、收入、出席和观众反馈的记录。口述历史使居民和公会成员过去的经历被添加到历史记录中。对奥克尼乡村电影院方案的试点研究证实了运营商在保证节目、容纳电影院的可变空间所要求的即兴展览效果以及对包含当地内容的节目的偏好方面的重要性。为响应项目宣传，也积累了一个联系网络。受访者的数量表明了开展这项研究的重要性，同时有可能使观众这部电影成为我们文化历史的一部分。PI Ian Goode博士研究并发表了关于乡村电影展览的文章，并将由一位口述历史研究助理提供支持。伊恩是苏格兰“其他”电影院和早期电影院的主要研究人员之一。他在苏格兰电影、电视和战后电影文化方面具有专长。CI博士Sarah Neely专门研究苏格兰电影，奥克尼导演Margaret Tait和档案研究。尼利有促进创意写作的背景。孔院教授卡勒姆·布朗（Callum Brown）是西方著名的宗教和社会历史学家，对19世纪和20世纪的苏格兰有着专门研究，并在口述历史方面有着丰富的经验。

The proposal focuses on the contact with cinema during 1946-71 by isolated, religiously- conservative, linguistically-distinctive and economically-vulnerable communities in the Highlands and Islands. This contact divided communities, threatened the Gaelic language, and it was feared, fostered young people's desire to out-migrate. The project seeks to explore this in detail, before the generation that experienced it dies out. The formation of the Highlands and Islands Film Guild continued a pre-war initiative of the Scottish Film Council to make non-commercial cinema available to rural areas through the substandard gauge of 16mm. This continued during the second world war via the Ministry of Information and the Evacuation Film Scheme. The Film Guild was proposed to counter depopulation and improve leisure facilities for remote communities forming part of wider economic and cultural initiatives to bolster community activity, cohesion and recreation. It is a widely remembered but still unwritten part of Scottish cinema history in the period stretching from before television and extending into its early penetration into these zones. The service was often delivered personally by travelling operators with the assistance of local communities in spaces such as village or school halls not constructed for film exhibition. Localised exhibition projection in spaces shared by the operators, projector and audience, generated a different kind of cinema-going experience which is reflected in the depth of feeling and stories attached to remembering it. The current international turn in film history towards other cinemas underlines the shifting geography of enquiries into where and what cinema has been. Given the geography of Scotland, the history of the Film Guild adds a distinctive contribution to this research. The research will look at the operations of the Guild in terms of local community reaction (popular memory), schools, churches and third sector institutions) the local authorities, and the Scottish Office (including the Scottish Education Department, the Home and Health Department and the Highlands and Islands Development Board). It will combine archival, oral and creative research, building a historical record of rural cinema-going through a series of case studies. The project will be promoted in local media prior to each study. National and local archival research will investigate how the organisation provided and managed its cinema service. The National Archives of Scotland will provide records of programming, distribution and exhibition, promotion, revenue, attendance and audience feedback. Oral history enables the past experiences of residents and Guild operatives to be added to the historical record. A pilot study of the Orkney rural cinema scheme confirmed the importance of the operators in guaranteeing programmes, the effects of improvised exhibition demanded by the variable spaces that accommodated the cinema and a preference for programmes containing local content. A network of contacts has also been accumulated in response to project publicity. The volume of respondents demonstrates the importance of carrying out the study while it is possible to make this audience this cinema part of our cultural history.The PI Dr. Ian Goode has researched and published on rural cinema exhibition and will be supported by a research assistant specializing in oral history. Ian is part of a leading research strand concerned with 'other' cinemas and early cinema in Scotland. He has expertise in Scottish Film and Television and post-war cinema culture. The CI Dr. Sarah Neely specialises in Scottish Cinema, the Orkney based director Margaret Tait, and archival research. Neely has a background in facilitating creative writing. The CI Professor Callum Brown is a leading historian of religion and society in the west, with expertise in Scotland in the 19th and 20th centuries, and with extensive experience in oral history.