Major Research Project Proposal: The Trainspotting Films: Presentation of Scotland’s post-colonial identity through film language.
Thesis: Filmic conventions within the Trainspotting films arguably convey the essence of social discourse in regards to the issue of Scotland's identity as a post-colonial country.
Topic: The Trainspotting films have an arguably great presentation over social issues, and emotional connections to its complex and diverse characters. The first film – Trainspotting (1996) “…tapped into the [zeitgeist] of Scottish life …” (Pendreigh, 2000, p. 14) from the perspective of Edinburgh’s underbelly society, and their views of the post-colonial country they inhabit. In other Scottish-produced films, they heavily rely on representational elements and iconography to easily signify Scottish identity to an audience. Films including Sunshine and Leith (2013) use The Proclaimers music from the album Sunshine on Leith (1988) including the infamous song ‘I’m Gonna be (5000 Miles)’- notable for its Scottish accent presented on the track. Other elements include the presentation of the Scottish Kilt dressing, bagpipes and the iconic Scottish landscapes such as the Hebrides islands – evident in films such as The Decoy Bride (2011). This approach could have developed from the impact of Mel Gibson’s Braveheart (1995), where Tim Edensor states the film “… has significantly heightened the profile of Scotland in the international tourist market…” of which the “…processes of globalisation [has] threaten the construction of national and local identity [in Scotland]” (1997, p. 136). With this observation, it could suggest there is no platform for personal and social commentary of Scotland from a subjective perspective.
Enter the Trainspotting films under the direction of Danny Boyle: the first film, Trainspotting (1996), was notorious during the 90s as it established a “…self-definition of a mainly youthful audience out of tune with their elders” (Paget, 1999, p. 129). With the second film, T2 Trainspotting (2017), it provided the presentation of social developments from the first film both in character and place over twenty years. What may aim would be in this research project is to explore how the films’ language, the “…visual imagery, written or oral discourse, and natural or artificial sound…” (Santas, 2002, p. 75), construct unique interpretations of characters and their complexities; if there are viable connections, to then articulate that understanding towards Scotland’s identity and its social situation. The significance of the Trainspotting films are its empathetical and humanistic presentations to an audience with its debatable utility of social realism which adopts certain filmic elements that the audience recognise as ‘believable’ and ‘truthful’. Takako Seino supports this with his claim “…the descriptive shots of the drab and gritty settings allow the film to achieve an authenticity…” (2011, p. 6). However, there are also surrealistic elements presented such as the use of visual distortion through the lens, artificial lighting and image projects to present hallucinations of the characters within Trainspotting (1996). This surreal style combined with filmic realism is considered to be labelled as ‘magic realism’. Stephen Slemon describes this style as “… [the] binary opposition between the representational code of realism and that, roughly, of fantasy” (1988, p. 10). Acknowledging this, there are possibilities in exploring unique character and identity construction through this style for filmmaking, as it reflects a more subjective and personal viewpoint despite using certain unrealistic cinematography elements.
Understanding the concepts of subjective and unique construction, I have decided to input the concept of Post-Structuralism “…a theory […] concerning the relationship between human beings, the world, and the practise of making and reproducing meanings.” (Belsey, 2002, p. 5) as I believe there are elements of this present in the films’ language constructive subjective elements. There are also post-modernist techniques, as the concept itself is described by Jean-François Lyotard as the detachment of traditional and formulated constructions of content (1984, p. 19), which suggests the identification of radical change towards the standard format of mediums such as film.
Structure: In terms of the project’s form, it will be presented through a video essay. The project question is observing the films’ language, so the video essay format would arguably best visualise my interpretation and response to the project question; using stills and scenes from the Trainspotting films, and perhaps any real-life footage such as news reports surrounding the time periods of the films. The real-life footage is currently a debatable addition to the project. I would analyse this content and articulate that information towards the aims of connecting to Scottish identity. In addition, there is possible scope for implementing visual graphics to further illustrate my explanation of Scottish Identity based on research, depending on any research material that would best be explained through visual graphics.
The planned approach to the research video in terms of its narrative: the introduction will consist of the references mentioned about other films made in Scotland that are stereotyped and visualise an appealing representation of Scotland. Critiquing these elements briefly, the Trainspotting films will be introduced for their influence and qualities that make it a notable film and arguably captures a zeitgeist of Scotland through film language during the time of the film’s release. The concepts of the project will be defined and be made clear before proceeding onto the main topics of discussion: observing the films’ language and its style of magic realism and explore the connection to the concepts of post-structuralism, and Scotland with its post-colonial identity.
The first main section will solely focus on Trainspotting (1996); analysing key sequences, sections of film scenes or shots within the film that have a connection to the scholarly material exploring Scottish identity. Starting the research project with the first film has the strongest support of critical substance, and arguably creates an effective basis of study that will work as a platform to then explore T2 Trainspotting (2017). With limited critical material due to the recent release of the film, the weighted critical exploration of Trainspotting (1996) would arguably assist the exploration into the sequel as the second film is a continuation of the first film’s narrative, character development and themes. Finding the connections between the two films, I will then articulate the result of the exploration of these developments towards what that exhibits towards Scottish identity and the discourse into its arguable relation to the effects of post-colonialism.
To conclude the project, I will review how arguably evident Scottish identity and post-colonialism is within the film language of Trainspotting (1996) and T2 Trainspotting (2017). Within this exploration, if there are film language elements from the films that are accessible to articulate into an applied practice, I could produce a video practise with the praxis of the resulted research. I would prefer to produce a short monologue or a scene that embodies the result of the subject exploration; adopting the use of film language in the Trainspotting films and understanding the identity of Scotland as a post-colonial country.
Methodology: My primary research will include the two films as case studies, as they present the filmic elements that I will analyse. I will observe sections of scenes and particular shots in the film I believe would provide a connection to Scotland and its post-colonial identity, discoursing the relations to one another. I am currently deciding on whether I should include the original novels by Irvine Welsh – Trainspotting (1993) and Porno (2003), of which the films are based on; a more detailed presentation of the Trainspotting plot – important if there is further detail about social issues in Scotland that may be hidden from the films. However due to the focus on the film language within the films, the original text may not be as relevant towards the aims of the project.
For key scholars that have written applicable material to my project’s focus, they include pieces such as Grant Farred’s article ‘Wankerdom: Trainspotting As a Rejection of the Postcolonial?’ in The South Atlantic Quarterly (2004, p. 215-226) – the discourse here details the issues of Scotland’s independence and how it had affected the Scottish nationals, following Trainspotting’s themes of identity and alienation. Patricia Horton’s article on ‘Trainspotting: A Topography of the Masculine Abject’ in English: Journal of the English Association (2001, p. 219-234), follows a similar observation of Farred’s article; consisting of the issues faced by post-colonialism in Scotland with a focus on the semiotics of the characters and themes; Derek Paget’s book section on ‘The Transformations of Trainspotting films’ in Adaptations: From Text to Screen, Screen to Text (1999, p. 128-140) – Paget details the influence of the first film along with highlighting the filmic choices that were introduced in the film adaptation, relatable to my research into the filmic qualities in the Trainspotting films and the social connection. I am currently debating the use of Jennifer Jeffers’ article ‘Rhizome National Identity: 'Scatlin's Psychic Defense' in Trainspotting’ in the Journal of Narrative Theory (2005, p. 88-111) – Jeffers focuses on the discourse of Scotland’s Identity in Trainspotting (1996), strictly observing the film’s narrative which could come into relevant association with the concepts of post-modernism and challenging formulated construction. However, as my focus is on the films’ language that includes visual components, sounds and narration, this article may progress my research on a tangent.
In addition to the key discourse material, I will be using secondary resources that include articles, documents online regarding the concepts and theories I am implementing into this research project. Some important theoretical material includes examples such as Catherine Belsey's Poststructuralism: A Very Short Introduction (2002) and Jim Powell's Postmodernism for Beginners (1998), which will assist in the theoretical understanding of the concepts and its application to the research project. Stephen Slemon’s book section ‘Magic Realism as Post-Colonial Discourse’ in Canadian Literature 116 (1988, p. 9-24) – Slemon’s critical study on ‘magic realism’ as a concept would also aid the theoretical support on the research into the Trainspotting films, along with the connection to post-colonialism that is embedded in Scotland’s past and current influence on its society.
Assumption: The belief is that this research will venture forward into exploring the detachment and isolation presentations that could connect to Scotland's sense of identity. For Scotland, the country arguably has a vivid ideology of independence and rebellion. What the Trainspotting films convey through characters and the filmic language, is perhaps the effects of these ideas and motivations; how it affects characters and place. Another expectation delving into Scottish politics and social situations would be the class issue. As both films explore drug use, fraud and illegal trade – it does observe the effects on the main characters from their point of view, which in itself is an example of post-structuralism – witnessing the way the characters construct their own meaning of society, Scotland and themselves.
The 'magic realism’ that presents itself in moments of extreme and emotional drama of the films' – it perhaps suggests the characters' need of escapism. If the film does connect these abstract qualities towards the post-colonial effect, it comments subjectively how the post-colonial factors affects the people of Scotland and could question further what the social situation is.
Limitations and Ethics: My research criteria delve into the concepts of magic realism, post structuralism, film language and national identity. In this case, the scholarly scope of what I can explore is arguable limited due to the vast choices of concepts to implicate into the research on the Trainspotting films. Despite possible vast connections between all the concepts, the research in each particular element will need a variety of discourse and examples. Additionally, the critical contributions to T2 Trainspotting (2017) are limited, and for those sources in that limitation – they mainly reference critical studies of the first film. Despite the availability to contribute to T2 Trainspotting (2017) as significant content, the challenge of providing an appropriate level of critical analysis and articulation is evident.
As the film also looks at the particular group of characters with a history of drugs, fraud and violence, I need to structure my discourse appropriately when regarding the impression of Scottish society; the characters in the film do not wholly represent the entirety of Scotland’s populations, however they are human in their nature and they are responsive to the cultural, social and political influences on the post-colonial country they populate.
Word count (excluding bracketed references): 1947
Bibliography
Belsey, C., 2002. Poststructuralism: A Very Short Introduction. Oxford; New York: Oxford University Press.
Braveheart. 1995. [Film] Directed by Mel Gibson. United States: Icon Productions; The Ladd Company.
Edensor, T., 1997. Reading Braveheart: Representing and Contesting Scottish Identity. Scottish Affairs, 21(1), pp. 135-158.
Farred, G., 2004. Wankerdom: Trainspotting As a Rejection of the Postcolonial?. The South Atlantic Quarterly, 103(1), pp. 215-226.
Haesly, R., 2005. Identifying Scotland and Wales: types of Scottish and Welsh national identities. Nations and Nationalism, 11(2), pp. 243-263.
Horton, P., 2001. Trainspotting: A Topography of the Masculine Abject. English: Journal of the English Association, 50(198), pp. 219-234.
Jeffers, J. M., 2005. Rhizome National Identity: 'Scatlin's Psychic Defense' in Trainspotting. Journal of Narrative Theory, 35(1), pp. 88-111.
Jones, M., 2014. Trainspotting and the Dilemma of Scottish National Identity. [Online] Available at: https://philosophyinfilm.com/2014/04/18/trainspotting-and-the-dilemma-of-scottish-national-identity/ [Accessed 19 October 2017].
Kelly, A., 2005. Irvine Welsh. Manchester: Manchester University Press.
Lyotard, J. F., 1984. The Postmodern Condition : A Report on Knowledge. Translated from French by Geoff Bennington and Brian Massumi. Manchester: Manchester University Press.
McCrone, D., 2001. Understanding Scotland: The Sociology of a Nation. 2nd Edition ed. London; New York: Routledge.
Nowlan, B., 2015. From Social Realism to Social Art Cinema and Beyond. In: B. Nowlan & Z. Finch, eds. Directory of World Cinema: Scotland. Bristol; Chicago: Intellect Ltd, pp. 180-265.
Paget, D., 1999. Speaking Out: The Transformations of Trainspotting. In: D. Cartmell & I. Whelehan, eds. Adaptations: From Text to Screen, Screen to Text. London; New York: Routledge, pp. 128-140.
Pendreigh, B., 2000. The Scot Pack: The Further Adventures of the Trainspotters and Their Fellow Travellers. Edinburgh: Mainstream Publishing.
Powell, J., 1998. Postmodernism For Beginners. Reprint ed. Danbury: Writers and Readers.
Santas, C., 2002. Responding to Film: A Text Guide for Students of Cinema Art. Chicago: Burnham Publishers.
Seino, T., 2011. Realism and representations of the working class in contemporary British cinema. [Online] Available at: https://www.dora.dmu.ac.uk/bitstream/handle/2086/4720/SOCIAL+REALISM+AND+REPRESENTATION+OF+THE+WORKING+CLASS+IN+CONTEMPORARY+BRITISH+CINEMA.pdf?sequence=1 [Accessed 7 December 2017].
Slemon, S., 1988. Magic Realism As Post-Colonial Discourse. In: W. H. New, ed. Canadian Literature 116. Vancouver: University of British Columbia, pp. 9-24.
Stam, R., Burgoyne, R. & Filitterman-Lewis, S., 2011. New vocabularies in film semiotics: structuralism, post-structuralism and beyond. TBA ed. London; New York: Routledge.
Sunshine on Leith. 2013. [Film] Directed by Dexter Fletcher. United Kingdom: British Film Institute; Creative Scotland; DNA Films.
T2 Trainspotting. 2017. [Film] Directed by Danny Boyle. Scotland: Film4.
The Decoy Bride. 2011. [Film] Directed by Sheree Folkson. United Kingdom: Ecosse Films.
The Proclaimers, 1988. "I'm Gonna Be (500 Miles)”. In: Sunshine on Leith [CD]. Oxford: Chrysalis.
Thoreson, J., 2017. Contradiction and Resolution in Trainspotting: An Analysis of Irvine Welsh’s Novel (1993) and its Adaptation by Danny Boyle (1996). [Online] Available at: http://uu.diva-portal.org/smash/record.jsf?pid=diva2%3A1109781&dswid=8846 [Accessed 15 November 2017].
Trainspotting. 1996. [Film] Directed by Danny Boyle. Scotland: Channel Four Films.
Welsh, I., 1994. Trainspotting. Minerva Edition ed. London: Minerva.
Welsh, I., 2002. Porno. London: Jonathan Cape.